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AS 


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ART  RECREATIONS 


A 

GUIDE  TO  DECOIIATIVE  ART 


EDITED  BY 


MARIO^f  KEAIBLE 


BOSTON 

S.  W.  TILTON  AND  COMPANY 


Entered,  according  to  Act  of  Congress,  in  tlie  year  1859,  by 
J.  E.  TILTON  & CO., 

In  the  Clerk’s  Office  of  the  District  Court  of  the  District  of  MassacLusetts. 


Copyright,  1884,  by  S.  W.  Tilton. 


C.  J.  PETEKS  AND  SON, 
ELECTROTYPERS  AND  STEREOTYPERS, 
145  High  Stkeet. 


the  GETTY  CENTER 
tlBRARV 


NOTE  OF  EXPLANATION  TO  THE  READER. 


Although  presenting  this  book  under  an  old  name,  it  is 
in  reality  a new  work.  The  old  matter  has  been  much  con- 
densed and  in  many  instances  entirely  rewritten.  New 
matter  more  in  amount  than  the  entire  contents  of  the  first 
edition  has  been  added,  and  the  whole  arranged  on  a sys- 
tem of  economy  in  which  it  has  been  our  object  to  show 
how,  at  a comparatively  small  expense,  one  may  make 
many  pretty  and  decorative  articles  which,  if  purchased  at 
the  “ Art  Stores,”  would  be  quite  expensive. 

In  all  matters  pertaining  to  home  decoration  — for  pres- 
ents to  friends  — for  fairs  and  for  private  exhibition,  and 
for  general  sale,  this  book  will  furnish  desirable  information 
and  assistance. 

The  space  at  our  command  has  not  allowed  us  in  all 
cases  to  give  minute  details,  but  we  have  selected  such  sub- 
jects for  detailed  instructions  as  will  give  the  most  general 
information  and  which  can  be  applied  in  many  cases  where 
detail  has  been  omitted. 

It  may  be  observed  that  praetiee  in  such  instructions  as  we 

iii 


IV 


NOTE  OF  EXPLANATION  TO  THE  READER. 


have  given  in  detail  can  be  had  at  a very  slight  expense. 
Take  for  instance  Pottery  Decoration.  This  subject  is  treated 
so  minutely  in  detail  as  to  afford  those  who  have  had  no  pre- 
vious Art  Instruction  an  opportunity  to  begin  with  the  first 
step,  viz.i  drawing,  and  to  practise  weeks  and  even  months 
at  a trifling  expense,  and  while  learning  to  decorate  pottery 
they  will  be  acquiring  information  which  will  enable  them 
to  take  up  successfully  other  branches  of  decorative  art. 

After  learning  to  draw,  a knowledge  of  colors  will  be 
desirable ; these  are  prepared  for  the  painter’s  use  by  various 
processes  and  applied  mixed  with  some  liquid.  Various 
fluids  are  employed  for  the  purpose,  water  for  water-colors, 
oil,  for  oil-colors,  etc.,  etc. 

The  simplest  form  of  applying  colors  is  with  water  and 
will  prove  the  most  instructive,  the  least  expensive,  and  the 
most  artistic. 

It  will  be  the  most  instructive  because  water-colors  being 
generally  transparent,  care  and  judgment  must  be  used 
in  their  application  as  when  once  laid  on  they  cannot  be 
hidden  by  covering  them  with  another  color  as  is  the  case 
with  oil-colors.  A coat  of  blue  covered  by  a coat  of  yellow 
will  destroy  the  individuality  of  each,  and  produce  a green 
— the  colors  being  transparent,  one  shows  through  the 


NOTE  OF  EXPLANATION  TO  THE  KEADER. 


V 


other,  giving  the  same  result  as  though  the  two  had  been 
mixed. 

The  same  experiment  with  oil-colors  will  show  quite  a dif- 
ferent result — the  one  last  put  on  will  only  appear.  The 
colors  being  opaque,  one  covers  and  hides  any  previous  color. 
Thus  it  will  be  quite  evident  that  in  the  first  case  one  will 
learn  to  study  the  effect  of  his  colors  so  as  to  apply  the 
proi^er  one  the  first  time,  while  in  the  other  case  he  will 
only  learn  carelessness  — it  will  be  so  easy  to  cover  up  his 
mistakes.  Mixed  with  water  will  be  the  simplest  method 
for  applying  colors,  because  in  this  form  they  are  alwa}^s 
ready  for  immediate  use  and  may  be  left  at  any  time  with- 
out injury  or  waste. 

They  are  the  least  expensive  because  a box  of  good 
water-colors  (Tilton’s  Decorative  Art  Color  Box  No.  1)  may 
be  had  for  half  a dollar,  while  the  cheapest  box  of  oils  will 
cost  two  dollars,  and  the  box  of  water-colors  will  outlast 
several  boxes  of  oils. 

After  one  has  learned  how  to  mix  and  use  colors  with 
water,  which,  as  we  have  shown,  may  be  learned  at  a 
trifling  expense,  he  may  very  easily  learn  how  to  use  them 
mixed  with  any  other  fluid  or  medium,  as  the  principle  is 
the  same. 


vi  NOTE  OF  EXPLANATION  TO  THE  READER. 

In  several  instances  where  space  would  not  allow  of  detail 
we  have  referred  to  other  books  which  will  give  informa- 
tion on  the  subject;  and  in  the  instructions  for  Pottery 
Decoration  we  have  referred  to  “ Bulfinch’s  Age  of  Fable.” 
This  book,  while  giving  no  instructions  in  any  form  of  art 
work,  should  claim  especial  attention  from  every  art  student, 
as  the  stories  there  told  have  furnished  the  subjects  which 
have  made  the  reputation  of  artists,  sculptors,  and  poets, 
from  the  most  remote  period  down  to  the  present  time. 
Indeed,  many  of  the  most  celebrated  works  of  art  will  be 
quite  unintelligible  without  a knowledge  of  the  stories  told 
in  this  book.  Besides  being  one  of  the  most  intensely  inter- 
esting volumes  to  be  found  in  the  English  language,  it 
also  contains  over  a hundred  fac-simile  illustrations  of  the 
works  of  the  old  masters,  including  many  from  pictures 
found  at  Herculaneum  and  Pompeii. 

“ Artists’  Colors,  and  How  to  Mix  Them,”  is  the  title  of 
another  book  * we  have  several  times  referred  to ; this 
little  work  contains  over  a hundred  pages  of  valuable  in- 
formation on  colors,  which  we  would  have  been  glad  to 
Iiave  given  entire  had  our  space  allowed. 

Marion  Kemble. 


* Now  in  preparation. 


Tms  art  by  which  we  imitate  the  beauties  of  the  exte- 
rior world,  and  transfer  to  paper  or  canvas  the  creations  of 
our  imagination,  is  not  only  a pleasing  accomplishment, 
but  of  practical  utility  in  every  department  of  human  life ; 
and  while,  as  in  every  branch  of  study,  all  cannot  expect 
to  attain  to  equal  excellence,  there  is  no  one  who  does  not 
possess  within  him  a germ  which,  with  proper  cultivation, 


1 


2 


DRAWING. 


will  develop  itself  in  some  degree  of  artistic  beauty. 
As  in  music,  so  in  drawing,  to  become  a master  of  the 
art  requires  a life-long  labor  and  constant  application; 
and  yet  it  is  within  the  reach  of  all  to  acquire  such 
a knowledge,  and  such  an  experience,  as  to  produce  pleas- 
ing effects,  to  cultivate  and  elevate  our  tastes  for  the 
beautiful  in  nature  and  art,  and  decorate  our  dwellings 
with  representations  of  the  outer  world,  and  make  per- 
manent with  the  pencil  the  dreamy  imaginations  which 
float  in  the  ever-active  mind. 

Drawing  should  become  an  essential  element  in  our 
popular  education,  for  while  it  conduces  to  our  pleasure 
and  amusement,  practical  advantages  naturally  flow  from 
it ; and  although  in  an  elementary  treatise  like  this  it 
is  impossible  to  enter  into  the  minute  details  necessary 
for  high  proficiency  in  the  art,  yet  it  is  believed  the 
attentive  student  will  find  here  an  incentive  for  further 
study,  and  that,  by  following  the  concise  but  systematic 
directions  here  given,  he  will,  although  a beginner,  be 
enabled  to  produce  pleasing  pictures  with  a true  artistic 
effect,  and  lay  the  foundation  for  a thorough  knowledge 
of  the  principles  of  drawing.  Success  in  any  thing  is 
in  proportion  to  the  exertion  put  forth,  and  the  student- 


DRAWING. 


3 


artist  who,  with  fixedness  of  purpose,  and  with  patience, 
applies  his  mind  and  hand  to  the  work  may  feel  as- 
sured of  the  most  gratifying  results ; and  each  suc- 
cessive difficulty  overcome,  and  every  new  idea  gained, 
add  knowledge,  experience,  and  encouragement. 

A perfect  muscular  control  of  the  hand  is  of  the  first 
importance  in  drawing,  as  accuracy  of  outline  and  delicacy 
of  expression  can  only  be  obtained  by  having  the  fingers 
in  complete  subjection  to  the  will,  so  that  the  slightest 
volition  will  be  properly  interpreted  by  the  pencil.  This 
requisite  facility  in  the  use  of  the  pencil  or  brush  can  be 
acquired  only  by  patient  practice,  the  length  of  time  neces- 
sary for  its  attainment  being  in  some  degree  dependent 
upon  the  natural  ability,  taste,  or  “ genius  ” of  the 
learner.  Of  equal  importance,  and  as  absolutely  indis- 
pensable, is  correctness  of  eye  in  determining  distances 
and  measurements  — an  attainment  which  can  be  carried 
to  a wonderful  degree  of  perfection.  Thorough  practice 
in  making  straight  and  curved  lines  demands  the  first 
attention  of  the  beginner.  Commence  ivith  short  hori- 
zontal lines,  gradually  increasing  the  length,  making  the 
line  in  a distinct,  bold,  and  rapid  manner,  first  from  left 
to  right,  and  then  vice  versa,  thus  : — ; 


4 


DRAWING. 


next,  straight  lines  touching  each  other  at  different 

; then  perpendicular 


angles,  thus  : 
lines,  thus : 


Too  much  practice  cannot  he  given  to  these  lines,  and 
the  difficulties  at  first  experienced  in  drawing  straight, 
continuous  lines  will  gradually  diminish.  When  these 
right-lines,  horizontal,  perpendicular,  and  at  various 
angles,  can  be  drawn  with  accuracy  and  with  freedom 
of  pencil,  then  practice  the  following,  which  is  a com- 


bination of  them  all,  thus  : 
nations  will  suggest  them- 
inventive  mind,  and  the 
astonished  in  his  practice  in 
variety  of  forms  and  almost 
tions  can  be  produced  from 
It  may  be  well  to  copy  some 
posed  of  straight  lines  ; but 
od  is  to  draw  from  the  store- 


Other  combi- 
selves  to  the 
learner  will  be 
finding  what  a 
endless  varia- 
straight  lines, 
figures  com- 
the  best  meth- 
house  of  your 


DRAWING. 


5 

own  invention,  taxing  the  mind  for  new  combinations, 
and  thus  adopting  one  of  the  surest  means  of  success. 
The  power  to  originate,  as  well  as  to  imitate,  is  necessary 
to  make  the  true  artist. 

Having  attained  a degree  of  proficiency  in  straight 
lines,  the  next  step  is  the  curve,  with  all  its  variations. 
Commence  by  drawing  a horizontal  line,  connecting  the  ends 
by  arches  of  different  altitudes,  then 
perpendicular  lines,  connecting  the 
ends  by  arches  in  the  same  manner. 

In  each  of  these  cases,  the  straight  lines  form 
a basis  by  which  to  determine  with  more  accu- 
racy the  true  sweep  of  the  arch  curves ; and 
all  irregular  forms  can  best  he  determined  by 
their  relative  positions  to  straight  lines.  A 
practiced  eye  will  soon  learn  to  detect  right 
lines  in  all  things,  and  thus  have  an  unerring 

standard. 

Now  draw  straight  lines,  and  divide  them  into  equal 
parts,  testing  the  accuracy  of  your  eye  by  the  compasses, 

f— and  practice  this  until  the  eye  can 

measure  with  great  accuracy.  Then  draw  arches,  (without 
any  base  line,)  and  divide  them  in  the  same  manner. 


I) 


DRAWING. 


^ — Forms  of  grace  and  beauty  being 

^ dependent  upon  curved  lines,  great 
attention  and  practice  should  be  given  to  them  in 
the  infinite  variety  in  which  they  occur.  Select  simple 
curvilinear  forms,  and  having  acquired  some  profi- 
ciency in  making  them,  advance  to  those  of  a more 
difficult  character  ; vases,  goblets,  shells,  and  numerous 
other  forms  combining  curved  lines  will  readily  occur  to 
the  mind  of  the  artist. 

It  will  now  be  found  a good  practice  to  draw  straight 
and  curved  lines  with  their  parallels,  varying  the  spaces 
between  the  lines  until  the  hand  becomes  steady  and  accu- 
rate in  its  motion,  and  the  eye  determines  the  equi-dis- 


tances,  thus  ; 


Make  the  lines  with  boldness,  and  a certain  degree  of 
rapidity. 

Thorough  practice  in  drawing  these  lines,  and  in  divid- 
ing them  at  equi-distances,  gives  to  the  learner  the  whole 
alphabet  of  drawing.  Too  much  attention  cannot  be  given 
to  the  combinations  of  which  these  various  lines  are  sus- 
ceptible, and  patience  and  diligence  are  indispensable 
requisites  to  success.  All  mistakes  should  be  carefully 


DRAWING. 


7 


corrected,  not  in  imagination,  but  in  reality,  as  thus  the 
hand  and  eye  gain  experience.  Fruit  and  flowers  are  in- 
teresting models  from  which  to  draw,  and  these  can  be 
followed  by  more  complicated  subjects. 

The  drawing  of  the  human  head,  and  indeed  of  the  whole 
human  form,  being  wholly  dependent  upon  curved  lines, 
no  more  appropriate  place  will  be  found  in  which  to  give 
a few  elementary  directions  on  this  branch  of  the  art  of 
drawing ; and  it  may  be  remarked,  that  in  all  the  works 
of  nature  no  straight  lines  are  to  be  found  ; trees,  flowers, 
leaves,  fruit,  and  every  motion  of  air  or  water,  are  curvi- 
linear in  their  character. 

It  is  easier  to  draw  a head  in  profile  (side  view)  than  in 
any  other  position,  as  in  this  way  the  features  can  be  more 


readily  preserved,  and  a little  practice  in  profile  drawing 
(strict  attention  being  given  to  the  originals)  will  insure  a 


8 


DRAWING. 


creditable  degree  of  proficiency.  In  drawing  Si  front  view^ 
the  artist  should  begin  with  the  mouth ; and  as  a general 
rule,  in  the  words  of  an  artist-author,  “ before  making  any 
attempt  at  expression  he  should  become  familiar  with 
the  actual  form  of  the  features,  and  be  capable  of  delin- 
eating them  knowingly.”  The  line  made  by  the  meeting 
of  the  lips  is  the  first  thing  to  be  drawn.  Draw  a straight 
line,  and  upon  it  mark  with  a dotted  or  faint  line  the 
width  of  the  mouth,  center,  thickness  of  lips,  etc.,  giving 
careful  attention  to  the  form  ; then  develop  these  marks 
into  a correct  outline  of  the  form  to  be  imitated,  and  the 
remaining  steps  of  filling  up  will  come  in  easy  succession. 
Repeated  experiments  should  be  made  until  the  use  of  the 
straight  or  base  line  can  be  dispensed  with  ; and  the  same 
principle  will  apply  to  the  drawing  of  the  eye.  Practice 


will  enable  the  learner  in  a short  time  to  preserve  the 
relative  proportions  as  well  without  as  with  this  line. 


DRAWING. 


9 


In  making  the  lines  which  give  form  or  rotundity,  com- 
mence with  the  most  prominent  ones,  attending  carefully 
to  all  the  details  of  light  and  shade,  and  not  attempting 
too  rapid  progress.  The  principles  above  given  will  apply 
with  the  same  force  to  other  features,  and  the  pupil 
should  practice  with  patience  each  and  every  feature  before 
attempting  to  combine  them.  The  accompanying  diagrams 
will  he  of  essential  service  to  the  pupil. 

Having  attained  some  proficiency  in  these,  the  pupil 
can  next  proceed  with  the  following,  practicing  patiently 
and  thoroughly. 


It  has  been  remarked  that  it  is  easier  to  draw  a profile 
than  a front  view ; therefore  it  is  recommended  to  the 


10 


DRAWING. 


pupil  to  commence  a perfect  head  with  a 'profile ; and  here 
nature  provides  a base  line  or  point  of  unerring  certainty, 
by  w'hich  to  produce  the  head.  With  the  head  in  an 
erect  position,  a line  connecting  the  lower  points  of  the 
nose  and  ear  will  be  horizontal ; and  thus  is  established  a 
basis  to  which  all  the  parts  of  the  head  must  have  certain 


fixed  relations.  Erect  a perpendicular  from  one  end  of 
a horizontal  line,  and  upon  this  mark  the  length  of  the 
nose,  equal  to  o'ae  fourth  the  whole  height  of  the  head. 
This  proportion  will,  of  course,  sometimes  vary,  but  it 
forms  a pretty  accurate  measurement.  The  oval.,  we 
mean  the  egg-shape  oval,  although  of  little  use  in  profile 
drawing,  in  a full  front  view  is  of  striking  use  and  value. 


iJRAWING. 


11 


The  student  unacquainted  with  the  subject  will  be  aston- 
ished to  see  how  nearly  the  human  face  partakes  of  the 
oval  form,  and  this  knowledge,  when  acted  upon,  will  be  of 
great  assistance.  A single  outline  illustration  will  show 
better  than  pages  of  print  the  force  of  our  remarks  upon 
the  oval  form  of  the  human  face. 


The  obtuse  or  elongated  form  of  the  oval  must  be  deter- 
mined by  the  individual  cases. 


12 


DRAWING. 


As  a general  observation,  it  may  be  said  that  just  in 
proportion  as  the  bead  is  elevated  or  depressed  from  an 
erect  position,  the  line  from  ear  to  nose,  before  alluded 
to,  will  cease  to  be  horizontal,  and  take  a greater  or  less 
curvature  ; still  it  will  continue  to  be  a governing  line. 
Care  and  judgment  in  the  use  of  the  oval  is  necessary, 
as  at  every  inclination  of  the  head  to  the  left  or  right, 
the  perpendicular  or  center  ceases  to  be  a straight  line, 
and  as  the  curvature  increases  the  line  loses  its  position 
as  a central  line  for  determining  the  features,  while  the 
oval  is  gradually  lost  for  an  outline  as  the  picture  ap- 
proaches a profile.  The  imaginary  central  line  of  the  head 
and  face  should  always  receive  the  careful  study  and  con- 
tinual attention  of  the  student,  as  it  determines  the  gen- 
eral character  of  the  head  and  its  separate  parts. 

Copying  plaster  casts  is  an  excellent  practice,  and  the 
learner  should  improve  every  opportunity  for  observa- 
tion and  study ; and  all  attempts  at  imitation,  either 
horn  casts,  living  heads,  or  paintings,  will  insure  gratify- 
ing progress  in  the  art.  Proper  subjects  for  copying 
are  within  the  reach  of  all  those  into  whose  hands  this 
book  will  fall.  As  the  pupil  passes  on  to  advance  pages, 
he  will  fiTTd  various  directions  for  the  minutiae  of  draw- 


DRAV/ING. 


13 


ing,  which  will  be  of  use  in  all  his  attempts  to  repre- 
sent the  human  head. 


LIGHT  AND  SHADE. 

A proper  disposition  of  light  and  shade  gives  to 
drawing  and  })ainting  the  expression  of  form,  and  thus 
the  eye  receives  nearly  the  same  impression  in  looking 
upon  the  flat  canvas  or  paper  as  upon  the  natural  ob- 
jects. So  Ruskin  remarks,  in  speaking  of  color  and 
shading,  “ Every  thing  that  you  can  see,  in  the  world 
around  you,  presents  itself  to  your  eyes  only  as  an 
arrangement  of  patches  of  different  colors  variously 
shaded  ; . . . and  the  first  thing  to  be  learned  is,  how 
to  produce  extents  of  smooth  color,  without  texture.” 
To  acquire  proficiency  in  effecting  a true  light  and 


14 


DRAWING. 


shade,  the  pupil  or  learner  must  possess  an  accurate  or 
a cultivated  eye  to  aid  him  in  giving  true  representa- 
tions of  the  objects  to  be  painted  or  drawn. 

The  variety  of  form  and  direction  in  nature  can  only 
be  imitated  by  a corresponding  variety  in  the  lines  and 
touches  used  in  their  delineation,  expressing  as  nearly 
as  possible  the  exact  form  and  character  of  the  original. 
For  instance,  an  even,  smooth  surface  requires  an  even- 


ness and  regularity  in  the  lines,  approaching  as  nearly 
as  possible  to  an  unbroken  surface  ; and  if  it  is  desired 
to  imitate  a broken  or  uneven  surface,  recourse  must 
be  had  to  broken,  curved,  or  uneven  lines,  such  as 


DRAWING. 


15 


•will  best  represent  the  object.  It  will  readily  be  per- 
ceived by  the  learner  that  the  lines  (if  the  shading  par- 
takes of  the  linear  character)  must  vary  according  to 
the  subject. 

The  representation  of  a round  object  is  managed  by 
a careful  disposition  of  the  light  upon  the  convex  part, 
and  the  shade  attending  it.  It  is  this  difference  in  the 
shading  which  gives  objects  drawn  on  a plain  surface 
their  proper  relief,  and  expresses  space  and  distance. 
Indian  ink,  or  sepia,  is  useful  for  this  purpose.  Pre- 
pare two,  t'oree,  or  more  shades  of  either  in  small  cups, 
lay  on  the  shades  with  camel’s  hair  or  sable  brushes, 
putting  on  the  lighter  shades  first,  and  work  gradually 
darker  until  the  required  depth  of  color  is  secured.  It 
is  better  to  have  the  shades  too  light  than  too  dark,  as 
it  is  very  easy  to  strengthen  shades,  but  difficult  to 
lighten  them.  As  a general  rule,  it  must  be  observed 
that  the  different  tones  are  to  be  so  blended  together 
as  to  form  a gradual  shade,  becoming  fainter  as  it  ap- 
proaches the  light. 

In  the  disposal  of  the  shades,  the  following  direc- 
tions may  be  studied  with  benefit : — 

1st.  All  the  shades  of  objects  in  the  same  piece 


16 


DRAWING. 


must  fall  the  same  way,  that  is,  farthest  from  the  light. 

For  instance,  if  the  light  comes  from  the  right  side  of 

• 

the  piece,  the  shades  must  fall  toward  the  left,  and 
vice  versa, 

2d.  The  part  of  an  object  nearest  the  light  must 
have  the  faintest  shades.  This  rule  is  observable  in 
the  folds  of  drapery,  where  the  projecting  folds  appear 
light,  and  the  inner  folds  dark.  Titian  observed,  that 
‘^the  best  rule  for  the  distribution  of  lights  and  shad- 
ows may  be  drawn  from  an  observation  of  a bunch  of 
grapes.” 

3d.  Calm  waters  have  either  a faint  shade  or  none 
at  all ; but  there  should  always  be  a line  of  shade  near 
the  banks.  Agitated  waters  should  have  various  shades. 

4th.  In  large-extended  views,  as  landscapes,  the  dis- 
tant objects  are  faintly  shaded,  and  the  more  distant 
they  are,  the  fainter  the  shades. 

5th.  With  reference  to  the  horizon  and  clouds,  the 
clouds  nearest  the  top  of  the  piece  are  more  strongly 
shaded  than  those  more  remote,  the  strength  of  shade 
decreasing  as  the  clouds  descend  toward  the  horizon, 
where  they  become  faint  and  indistinct,  because  at  the 
greatest  distance  from  the  point  of  view. 


DRAWING. 


17 


6th.  Some  substances  have  the  property  of  reflect- 
ing the  light  strongly,  as  satin,  silk,  and  all  po/ished 
metals.  In  these  there  must  be  very  strong  light,  and 
consequently  a deep  shade.  All  bright  lights  must  be 
contrasted  with  strong  shades,  and  fainter  lights  with 
weaker  shades.  The  examination  of  busts  and  statues 
is  of  great  assistance  in  establishing  these  principles  in 
the  mind ; and  a critical  attention  to  the  effect  of  light 
and  shade  in  the  world  around  us,  in  the  open  air,  or 
when  the  sunlight  pours  through  the  windows  or  door, 
or  where  the  rays  of  the  moon  light  up  the  evening  land- 
scape, and  steal  in  through  the  opening  curtains,  in- 
deed, the  opportunities  for  studying  the  various  phe- 
nomena of  light  and  shade  are  ever  present  with  us,  and 
the  observing  pupil  will  in  this  way  learn  more  than  by 
pages  of  directions. 


PERSPECTIVE. 

Perspective  is  the  art  of  drawing  on  a plain  surface 
the  true  representation  or  appearance  of  any  given  ob- 
ject, as  it  would  appear  upon  a pane  of  glass  when  held 
upright  between  you  and  the  object. 


18 


DRAWING. 


The  eye  of  a person  when  sketching  from  nature  is 
presumed  to  be  placed  in  the  center  of  a circle  of  360°, 
and  the  expanse  of  vision,  while  the  eye  is  stationary, 
is  an  angle  of  60°  ; in  other  words,  the  eye  embraces  a 
range  of  30°  on  each  side  of  a center.  This  angle  of 


60°  has  no  reference  to  the  length  of  lines  on  either 
side,  since  they  are  regulated  by  the  assumed  width  of 
the  picture  proposed  to  be  drawn ; for  instance,  if  your 
perspective  plane  be  some  distance  from  you,  the  ob- 
jects would  be  larger;  if  nearer,  the  objects  would  be 
smaller  — both  pictures  representing  the  same  scene. 


DRAWING. 


19 


If  a person  standing  on  the  sea  shore  look  far  away 
over  the  expanse  of  water,  he  will  observe  a boundary 
line  — the  water  apparently  meeting  with  the  sky  by  a 
well-defined  straight  line.  This  is  called  the  horizontal 
line,  and  it  is  exactly  opposite  the  range  of  the  eye  ; 
and  that  particular  point  of  the  horizontal  line  to  which 
the  eye  of  the  sketcher  is  directed  is  called  the  point  of 
sight.  If  he  ascend  to  any  hight  on  the  shore,  the  line 
of  the  horizon  must  be  placed  higher  in  his  drawing, 
because  his  eye  is  so  much  higher  ; and  the  axiom  laid 
down  in  the  previous  paragraph  holds  true,  that  the 
horizontal  line  is  that  line  exactly  on  a level  with 
the  eye. 

Any  person  looking  on  a straight  road  which  con- 
tinues into  the  extreme  distance,  may  observe  that  the 
edges  of  the  road  appear  to  terminate  in  a point.  Per- 
haps a better  illustration  of  this  may  be  found  on  the 
track  of  a railroad,  in  a part  where  it  is  perfectly  straight. 
The  rails,  as  they  recede  into  the  distance,  converge  until 
apparently  lost  in  a point,  and  at  the  same  time  appear  to 
rise  up,  the  extreme  point  being  just  level  with  the  eye. 

From  facts  like  these  Chapman  deduces  these  ele- 
mentary principles ; that,  — 


20 


DRAWING. 


“ I.  The  point  of  sight  must  be  in  the  center  of  the 
perspective  picture. 

“ II.  All  lines  parallel  to  an  imaginary  line  drawn 
from  the  eye  of  the  observer  to  the  point  of  sight,  must 
terminate  or  vanish  in  that  point. 

“ III.  The  line  of  the  horizon  must  necessarily  rise  or 
descend  with  the  position  of  the  eye,  and  consequently 
with  the  point  of  sight. 

“IV.  The  base  or  ground  line  of  the  picture,  and  all 
others  parallel  with  it,  must  be  parallel  with  the  line  of 
the  horizon. 

“ V.  The  diagonal  of  the  square,  perspectively  repre- 
sented, directs  to  a point  on  the  line  of  the  horizon, 
the  distance  from  which  point  to  the  point  of  sight  repre- 
sents the  true  distance  of  the  eye  of  the  observer  from 
the  picture.” 

It  is  not  too  much  to  say  that  strict  attention  to 
these  principles  will  produce  the  most  gratifying  results 
in  the  progress  of  the  learner.  One  rule  the  true  artist 
should  always  remember,  that  is,  never  to  carry  the 
point  of  sight  outside  the  picture.  The  eye.  naturally 
seeks  a point  of  view  in  the  picture,  and  the  nearer  this 
point  is  to  the  center  of  the  picture,  the  greater  is  the 
harmony  between  nature  and  art. 


DRAWING. 


21 


All  objects  appear  to  diminish  in  proportion  to  their 
remoteness  from  the  eye  of  the  spectator.  Hence  col- 
umns, posts,  trees,  etc.,  of  equal  hight,  will  appear  to 
diminish  as  they  recede  from  the  eye.  The  lines  which 
govern  their  diminution  in  perspective  drawing  are 
called  vanishing  Jifies,  and  if  perpendicular  to  you,  van- 
ish in  the  point  of  sight,  or  that  point  in  the  horizon 
exactly  opposite  your  eye  as  you  stand  when  sketching; 
if  the  lines  are  below  the  eye,  they  tend  upward,  as 
the  rails  on  the  railroad  ; but  if  above  you,  as  the  ceil- 
ing of  a long  corridor,  they  would  tend  downward  to- 
wards the  horizon. 

The  point  of  sight  may  be  fixed  at  pleasure ; and 
although,  strictly  speaking,  the  center  is  the  correct 
place,  it  is  generally  better  to  place  it  a little  removed 
from  the  center  of  the  picture;  for  if  the  subject  were 
a street,  or  an  avenue  of  trees,  the  perspective  would  be 
very  formal,  and  the  scene  would  thereby  be  dimin- 
ished in  interest. 

Many  contend  that  all  objects  appear  better  with  one 
than  both  eyes  ; alleging  that  the  sight  is  rendered  more 
powerful  by  one  eye  being  shut.  Be  this  as  it  may,  it 
is  certain  we  see  a piece  of  perspective  better  with  one 


22 


DRAWING. 


eye  than  we  do  with  both,  and  it  is  undeniable  that  by 
opening  or  shutting  either  eye  the  position  and  gen- 
eral appearance  of  an  object  are  changed.  It  is  this 
very  fact  that  caused  Sir  David  Brewster  to  reflect,  and 
that  reflection  has  created  a new  era  in  the  history  of 
discovery  by  introducing  to  the  world  the  stereoscope. 


Before  beginning  to  sketch  out  of  doors,  the  first 
consideration  should  be  to  get  the  best  point  of  view, 
as  a few  steps  to  the  right  or  left  sometimes  make  a 
great  difference,  always  keeping  a good  lookout  for 
objects  that  will  compose  harmoniously  and  prettily. 


DRAWING. 


23 


As  this  does  not  always  occur  in  natural  scenes,  the 
sketcher  is  allowed  certain  liberties ; thus  he  may  add 
or  take  away  : he  may  add  where  there  seems  a defi- 
ciency, so  that  he  keeps  the  general  character  of  the 
scenery,  or  he  may  take  away  where  it  appears  too 
crowded.  Sometimes  artists  insist  upon  having  the  fore- 
ground entirely  at  their  own  disposal,  provided  they 
keep  up  the  general  appearance  of  the  view.  In  mak- 
ing hasty  sketches  (as  a pencil  sketch  is  subject  to 
great  inconvenience  when  there  are  two  or  three  dis- 
tances, and  each  drawn  in  with  one  kind  of  mark)  it 
is  requisite  to  make  a few  written  references,  as  the 
sketcher  may  forget  the  distinctions. 

A celebrated  English  landscape  painter,  in  giving 
advice  to  his  pupils  previous  to  their  departure  for  a 
sketching  tour,  was  very  particular  in  impressing  upon 
them  the  necessity  of  studying  “ little  bits,”  meaning 
by  this  not  to  take  too  much  in  one  sketch,  as  is  too 
often  the  case  with  beginners.  One  of  the  best  qual- 
ities of  a sketch  is  not  only  to  refresh  the  memory  of 
the  sketcher,  but  to  be  suggestive  and  intelligible  to 
every  one.  We  will  suppose  that  a spot  is  selected 
containing  not  more  than  three  or  four  objects.  An 


24- 


drawing. 


artist  seldom,  if  ever,  takes  any  thing  in  its  broadest 
and  most  regular  form,  and  never  takes  a house  (for 
instance)  as  if  he  had  taken  his  position  directly  in 
front,  nor  a row  of  trees  or  palisades  at  a right 
angle  to  his  own  position. 

For  an  early  lesson  in  sketching  from  nature,  a house 
is  very  good,  but  must  be  viewed  from  a point  a little 
aside  from  the  front,  so  as  to  bring  in  as  many  angular 
features  as  possible.  We  will  suppose  a station  to  be 
selected.  One  way  of  proceeding  is — hold  up  the  sketch 
book  in  front,  closing  one  eye  in  order  to  determine 
how  much  of  the  scene  is  to  be  drawn  ; the  farther  off 
the  book  is  held,  the  less  of  the  subject  will  be  covered; 
when  the  extent  is  arranged,  lower  the  book  ^to  a level, 
and  make  a few  dots  on  the  margin,  merely  to  point 
out  some  of  the  relative  positions  ; find  the  horizontal 
line  by  holding  up  your  pencil  horizontal  with  the  eye, 
and  slightly  mark  it  in;  then  get  the  point  of  sight  op- 
posite the  eye,  on  the  horizontal  line  ; judge  well  of  the 
relative  distances  of  the  most  prominent  objects,  and 
faintly  mark  them  in  on  the  paper.  By  arranging  these 
particulars  well  at  first,  a great  deal  of  trouble  is  saved 
in  erasing  false  marks.  Be  careful  to  give  every  line 


DRAWING. 


25 


its  proper  position : a line  that  is  upright  in  nature 
must  be  upright  in  your  picture ; lines  that  go  direct 
from  you  (that  is,  perpendicular  to  you  as  you  stand) 
go  toward  the  point  of  sight;  if  they  are  above  the 
horizontal  line,  they  tend  downward  toward  the  point 
of  sight ; and  if  below,  they  tend  upward.  In  sketch- 
ing, it  is  well  to  have  the  lines  a little  broken,  yet 
having  the  general  appearance  of  straightness.  An  easy, 
rapid,  and  decided  manner  of  sketching,  so  as  to  ob- 
viate all  appearance  of  stiffness  or  formality,  is  a power 
acquired  only  by  practice. 

If  the  sketcher’s  productions  after  a first  or  second 
attempt  be  not  all  that  can  be  desired,  it  is  a fair  proof 
that  the  mind  is  in  advance  of  the  hand,  and  should 
operate  as  a stimulus  to  further  exertion.  In  proceeding 
with  a sketch,  the  pencil  gradually  wears  away,  and 
gives  an  increasing  thickness  of  line  : this  can  be  used 
to  advantage,  as  bold  lines  of  the  pencil  are  frequently 
needed,  especially  in  the  foreground.  By  a little  prac- 
tice, the  pupil  will  discover  that  by  a gentle  twist  of  the 
pencil,  a sharp  angle  of  the  worn  pencil  will  come  in 
contact  with  the  paper,  and  a fine  line  can  be  drawn  ; 
and  by  pressing  harder  on  the  pencil  occasionally,  an 


26 


DRAWING. 


increase  of  depth  may  be  produced,  giving  the  sketch 
additional  spirit. 

ON  COMPOSITION. 

Every  production  of  the  artist  is  reducible  to  its  ele- 
mentary or  skeleton  construction  of  lines  and  forms ; 
and  upon  the  skillful  disposition  of  these  depeud  the 
excellence  of  the  composition  of  the  picture.  The  es- 
sential spirit  of  composition  in  painting,  as  in  many 
other  things,  is  variety.  In  order  to  make  it  agreeable, 
it  is  requisite  that  all  the  minor  parts  be  so  harmonized 
as  to  form  one  well-balanced  whole,  consisting  of  a few 
prominent  masses  or  groupings,  which,  according  to  the 
best  written  treatises  on  the  principal  laws  of  compo- 
sition, must  be  diversified  in  magnitude  and  in  form. 
One  of  these  masses  should  be  treated  as  the  principal, 
and  the  other  as  dependent  upon  it  and  contributing  to 
it,  and  at  the  same  time  it  is  necessary  they  should  be 
distinct  in  appearance  and  place.  Whatever  form  may 
be  determined  upon,  it  is  necessary  to  guard  against  a 
fixed  regularity,  so  as  not  to  repeat  any  form  or  shape  ; 
and  whatever  be  the  general  outline  of  the  masses,  they 


DRAWING. 


27 


should  not  be  regular,  nor  must  we  fall  into  error  on 
the  other  side  by  having  them  too  broken ; but  the 
various  parts  should  bear  and  preserve  a relation  to 
each  other,  showing  a whole  so  well  balanced  that  one  part 
cannot  be  taken  away  without  the  deficiency  being  felt. 

A TRUE  Method  of  Drawing  in  Perspective 
WITHOUT  A Knowledge  of  the  Pules. 

Many  persons  would  like  to  sketch  from  nature  if 
they  could  be  free  from  the  trouble  of  acquiring  the 
principles  of  perspective  drawing.  To  such,  and  to 
others,  we  present  the  following  description  of  a 
method  in  which  little  study  is  required,  and  yet  the 
proportions  and  distances  of  objects  will  be  exactly  pre- 
served. Get  a large  piece  of  fine,  clear  glass,  fitted  in 
a wooden  frame.  This  frame  is  to  slide  between  two 
cheeks  or  pieces  of  wood  one  and  a half  inches  thick, 
which  are  raised  at  the  two  extremes  of  a board  the 
breadth  of  the  frame  : the  cheeks  are  grooved  to  re- 
cei\e  the  frame.  In  the  middle  of  this  board  square 
holes  must  be  made  to  receive  the  movable  eye-hole 
piece,  so  as  to  be  raised  or  lowered  at  pleasure.  At 
the  top  of  this  is  a circular  piece  of  tin,  three  or  four 


28 


DRAWING. 


inches  in  diameter,  with  a hole  in  the  center  about  the 
size  of  a pea.  The  following  drawing  will  give  a 
pretty  accurate  idea  of  it,  and  any  cabinet  maker  can 
work  from  it. 


Place  this  instrument  before  the  object  you  would 
draw,  look  through  the  little  hole,  and  if  you  see  all 
the  proposed  objects  on  the  glass,  the  instrument  is 
rightly  fixed ; otherwise,  fix  the  sight  nearer  the  glass 
in  one  of  the  other  square  holes,  adapt  the  eye-piece  the 
bight  you  wish,  and  fasten  it  with  the  pin.  The  eye- 
piece being  adjusted,  keep  one  eye  at  the  hole,  closing  the 
other,  and,  with  a firm  and  steady  hand,  trace  in  on  the 
glass  all  the  objects  you  see. 


DRAWING. 


'29 


You  can  draw  on  the  glass  with  pen  and  ink,  then 
lay  a moist  sheet  of  paper  on  the  glass,  (the  side  that 
has  the  design,)  rub  or  press  the  paper  gently  thereon 
with  the  hand,  and  the  whole  draught  will  be  impressed 
or  transferred  from  the  glass  upon  the  paper. 

Some  use  a fine  brush  with  oil  color,  pressing  the  paper 
on  gently  while  the  oil  is  wet ; but  we  leave  you  to  your 
own  discretion,  having  given  you  a knowledge  of  the 
method.  The  sketch  of  a palace  is  as  easily  taken  as  a 
landscape,  and  a church  as  a house  or  chamber  ; all  re- 
quired in  any  subject  being  a situation  where  the  whole 
object  intended  to  be  represented  may  be  seen,  and  to 
bring  the  sight  to  a proper  nearness  to  the  glass.  These 
drawings  cannot  fail  to  be  according  to  the  strict  rules  of 
perspective  : the  eye-hole  has  the  same  effect  as  the  point 
of  sight  in  the  other  methods. 

Another  method  of  using  the  same  apparatus  is  to 
divide  the  glass  into  squares  with  threads,  thus  saving 
the  marking  the  glass  with  ink  or  color  ; in  this  way  you 
have  your  drawing  marked  off  in  the  same  number  of 
squares  as  much  larger  as  you  wish,  and  proceed  sketch- 
ing on  your  paper  what  you  see  in  the  corresponding 
squares  in  the  natural  object. 


30 


DRAWING. 


To  enlarge  and  diminish  a Drawing.  — Divide  the  origi- 
nal piece  into  a certain  number  of  squares  by  perpendicular 
and  horizontal  lines,  making  as  many  in  the  original  as  in 
the  space  intended  for  the  copy  ; number  the  correspond- 
ing squares  alike,  (your  copy  may  either  be  larger  or 
smaller ;)  then  observe  what  parts  of  each  square  the 
different  marks  run  in  the  original,  and  draw  similar  ones 
to  correspond  in  your  copy.  This  is  the  best  method  for 
enlarging  and  diminishing.  For  oil  paintings,  pieces  of 
twine  or  thread  might  be  tacked  across  at  equal  intervals, 
so  as  not  to  injure  or  mark  the  painting;  or  for  small 
engravings  you  can  procure  a piece  of  stout  card  paper ; 
cut  a square  in  it  the  size  of  the  engraving  you  wish  ta 
copy ; divide  the  sides  and  ends  into  half  inches ; then 
with  a needle  and  thread  pass  through  the  various  marks 
from  side  to  side  and  from  top  to  bottom,  taking  care  that 
the  thread  always  comes  from  the  same  side  of  the  card, 
so  as  to  lie  close  to  the  engraving  when  used.  Number 
the  threads  each  way.  If  you  wish  to  enlarge  the  copy, 
it  is  necessary  to  determine  the  proportions  one,  two,  or 
more  inches  to  the  half  inch  of  the  thread  card. 

Pencil  Drawing.  — After  having  the  form  of  an 
object  drawn,  we  want  it  better  defined;  for  instance,. 


DRAWING. 


31 


if  we  wish  to  shade  a ball,  we  must  follow  the  shape, 
and  let  all  the  shade  marks  be  rounded,  marking  dark 
on  the  side  farthest  from  where  the  light  strikes  it, 


32 


DRAWING. 


working  gradually  fainter  until  the  shading  is  lost  in 
the  spot  of  light ; if  we  wish  the  same  circle  to  repre- 
sent a flat  surface,  make  all  the  shade  marks  straight  and 
even,  so  as  to  represent  one  shade.  In  this  way,  by 
studying  the  natural  object  we  are  drawing,  the  pupil 
will  make  pleasing  progress. 


In  shading  houses,  trunks  of  trees,  rocks,  etc.,  observe 
which  way  the  natural  direction  of  lines  should  run,  so 
as  to  best  harmonize  with  the  original,  and  proceed  ac- 
cordingly. 


DRAWING, 


33 


FOLIAGE. 


When  a tree  is  in  the  foreground  the  leaves  are  dis- 
tinctly seen  ; we  can  readily  distinguish  the  form,  and  the 
-ght  and  shade  is  in  strong  contrast ; if  we  move  our 


34 


DRAWING. 


position,  and  make  the  same  tree  appeal  in  the  middle 
distance,  we  can  recognize  the  same  tree,  out  the  light  and 


shades  are  not  so  strong  ; if  we  again  remove  our  position, 


DRAWING. 


35 


and  cause  the  same  tree  to  be  in  the  extreme  distance,  the 
atmospheric  perspective  softens  the  general  tone,  and 
makes  it  uniform.  Linear  perspective  gives  us  the  cause 
of  the  diminution  of  size,  but  in  addition  to  that  we  have 


diminution  of  tone,  a fading  out  as  it  were,  owing  in  part 
to  the  intervention  of  the  atmosphere.  In  representing 
this  with  the  lead  pencil,  the  form  should  be  strictly  ob- 
served, and  an  even,  pale,  misty  tone  obtained.  But  in 


36 


DRAWING. 


the  foreground,  the  high  lights  must  be  strictly  kept,  and 
the  shades  deepened  with  an  even  gradation.  We  would 
recommend  a careful  study,  not  only  of  all  the  pencil 
practice  we  have  here  introduced,  but  of  numerous  others  ; 
these  should  be  practiced  well  from  memory,  as,  by  so 
doing,  ease,  freedom,  and  facility  are  obtained.  Masses  of 
foliage  can  be  represented  by  any  of  the  zigzag  working 
of  the  pencil ; the  outside  form  of  the  tree  has  to  be 
studied,  and  the  marks  best  adapted  to  it  applied. 

When  a drawing  or  painting  is  finished,  one  of  the  best 
means  of  improving  is  to  study  it  well,  and  do  another 
from  memory.  By  doing  this  conscientiously  improve- 
ment is  far  more  rapid. 

For  instructions  in  detail  on  this  subject  the  reader  is 
referred  to  the  series  of  Self-Instructive  Handbooks  on 
Drawing  and  Painting,  issued  by  the  publishers  of  this 
volume. 


Since  tlie  preceding  pages  were  written  what  are  now 
called  “ Transferring  Patterns  ” have  been  introduced.  By 
using  these  patterns  one  may  be  entirely  independent  of  all 
knowledge  of  drawing  for  many  kinds  of  decorative  work 
described  and  taught  in  this  book.  This  information  is  not 
given  to  depreciate  the  study  of  drawing,  on  the  contrary,  we 
advise  very  forcibly  every  one  to  learn  how  to  draw,  but  for 
those  who  will  not,  or  think  they  cannot,  the  “Transferring 
Patterns”  will  be  the  best  substitute;  and  as  frequent  allu- 
sions will  be  made  to  them  a description  will  be  of  interest 
to  the  reader,  A transferring  pattern  is  lit(3rally  a paper 
stencil;  the  design  is  drawn  in  outline  on  bond  or  parchment 


37 


38 


DKAWING. 


paper,  a very  thin,  tough  material;  then  with  a machine 
which  is  made  for  the  purpose,  all  of  the  lines  in  the  design 
are  perforated  with  minute  holes  so  close  together  that  when 
a powder  which  is  prepared  explicitly  for  this  use  is  rubbed 
over  the  pattern  the  design  will  be  transferred  in  continuous 
lines  to  any  material  desired. 

Directions  for  using  them  are  as  follows : — 

DIRECTIONS  FOR  USING  TILTON’S  TRANS- 
FERRING DESIGNS. 

Materials. — The  materials  required  are  Transferring 
Designs,  transferring  powder,  an  implement  for  using  the 
powder,  and  a box  for  the  powder,  etc.  A limited  quantity 
of  powder  is  given  with  the  designs,  — more  may  be  ob- 
tained from  the  publishers  at  twenty-five  cents  a package. 
The  best  thing  to  rub  the  powder  on  with  is  a roll  of  soft  felt 
made  of  a gentleman’s  old  soft  felt  hat,  cut  in  strips  of  about 
one  inch  and  a half  in  width  and  rolled  tightly.  After  being 
rolled  and  sewed  together  the  ends  will  be  uneven,  and  it 
must  be  burnt  down  until  the  surface  is  perfectly  flat  and 
smooth.  This  can  be  done  by  putting  it  on  the  top  of  a hot 
stove  and  rubbing  it  every  fi'w  minutes  on  some  rough  sur- 
face. When  done  it  will  be  about  one  and  a half  inches 


DRAWING. 


39 


nigh,  and  from  one  and  a half  to  two  inches  in  diameter. 
This  if  properly  made  will  last  a lifetime.  A more  simple 
way  is  to  use  a cotton  spool  after  tying  two  or  three  thick- 
nesses of  cloth  over  one  end,  and  over  that  a piece  of  soft 
chamois  leather. 

For  the  powder  have  a box  made,  say  six  by  eight  inches  in 
size,  and  about  two  inches  deep,  with  the  inside  bottom  lined 
with  woollen  cloth ; partition  oft*  a space  at  one  end  to  keep 
the  powder  in  bulk,  and  have  the  compartment  wide  enough 
to  admit  the  felt  roll,  — a common  table  plate  will  answer  in 
place  of  the  box,  but  the  box  will  be  much  better,  for  this 
reason,  — the  best  transfer  can  be  made  by  using  a very 
small  quantity  of  powder.  Dip  the  felt  roll  into  the  small 
compartment  containing  the  powder  and  then  rub  it  over  the 
cloth-lined  bottom  of  the  larger  compartment;  this  will  dis- 
tribute the  powder  evenly  over  the  surface  of  the  felt  roll  as 
well  as  to  rub  it  in,  and  will  regulate  the  quantity  used  so  as 
to  give  as  much  or  little  as  may  be  desired. 

Directions  for  Making  a Transfer. — The  transferring 
should  be  done  on  a smooth  table.  Lay  the  design  on  the 
paper  or  material  to  wliich  the  transfer  is  to  be  made,  with 
the  wrong  side  up  One  side  of  the  design  aviII  be  found 
perfectly  smooth  while  the  other  is  slightly  rough;  secure 


40 


DRAWING. 


it  in  position  with  some  heavy  weight  — a flat-iron  will  do 
placed  on  the  end,  corner,  or  side,  so  as  not  to  cover  the  de- 
sign,— hold  the  other  end  or  side  down  with  the  left  hand,  and 
hold  it  down  so  closely  that  no  powder  can  get  between  it  and 
the  material ; with  the  right  hand  use  the  powder.  The  best 
transfer  on  paper  will  be  obtained  by  using  very  little  pow- 
der, only  so  much  as  will  give  a distinct  outline  of  the 
design ; dip  the  felt  roll  into  the  powder,  then  rub  it  over 
the  cloth-lined  bottom  of  the  box,  then  mb  it  gently  — not 
too  gently  — over  the  face  of  the  design.  If  the  directions 
given  above  for  holding  the  design  in  place  have  been  fol- 
lowed the  unsecured  side  may  be  raised  so  as  to  see  when 
the  transfer  has  been  perfectly  made  before  removing  it. 
This  operation  is  so  simple  and  easy  that  a very  few  trials 
will  teach  any  one  how  to  do  it. 

The  design  in  this  state  will  not  be  permanent,  as  the 
powder  will  easily  rub  off,  but  by  tracing  over  the  lines 
with  a fine-pointed  lead  pencil,  or  pen  and  ink,  as  the  case 
may  require,  the  powder  may  bo  dusted  off  and  perma- 
nent lines  secured. 

A list  of  Transferring  Designs  will  be  sent  to  any 
address  on  application  to  S.  W.  Tilton  & Co.,  Boston. 


For  Charcoal  Drawing  you  will  need  the  following 
materials;  A drawing-board,  paper,  charcoal,  stumps, 
chamois  leather,  some  clean  rags,  and  a crayon  holder, 
some  dry  bread  and  a pointed  rubber.  Take  your  charcoal 
paper,  which  comes  in  almost  every  shade  from  white  to 
very  dark  tints,  cut  a piece  of  the  required  size,  and  taking 
your  drawing-board  (see  explanation  of  a drawing-board  in 
article  on  water-color  painting),  pin  your  crayon  paper  to  it 
securely  with  your  thumb-tacks,  one  in  each  corner  The 
usual  and  the  most  artistic  method  is  to  use  coarse,  rough 
charcoal  paper,  either  white  or  of  some  tint,  such  as  gray, 
blue,  brown,  etc.,  and  draw  upon  it  with  a delicately  sharp- 
ened charcoal  point,  putting  in  all  the  lines  delicately  and 
firmly,  and  doing  all  the  shading  with  the  point  by  making 
fine  lines  crossing  and  recrossing  one  another  (see  light  and 
shade  in  article  on  drawing),  and  blending  together  so  as  to 


41 


42 


CHARCOAL-DRAWING. 


give  the  required  tone.  These  lines  should  not  be  rubbed 
down  with  the  stump,  finger,  or  chamois,  as  the  object  of  this 
method  is  to  get  a transparent,  clear  etfect,  which  it  would 
lose  if  it  wrre  rubbed.  This  method  requires  more  skill  in 
its  execution  as  very  little  rubbing  out  can  be  done,  as  it 
smootches  the  drawing.  It  is  best  to  use  bread  to  rub  out 
when  it  is  required.  The  bread  should  be  rather  stale,  as 
new  bread  will  grease  the  paper.  Take  a small  piece  of 
soft  bread  about  the  size  of  a large  bean  between  your  thumb 
and  finger  and  roll  it  until  it  makes  a hard.,  firm  little  pellet. 
Shape  it  into  a point  at  either  end.  Hold  it  between  your 
thumb  and  finger,  and  use  the  points  to  rub  with.  It  is  best 
to  keep  some  pellets  for  rubbing  the  drawing  in  dark  places, 
for  the  bread  soon  becomes  dirty  and  would  spot  a light 
place.  Keep  making  new  ones  and  only  use  fresh  ones  for 
places  where  there  is  a bright  light  or  clear  paper,  as  the 
least  spot  will  show.  It  is  very  effective  when  colored  paper 
is  used  to  put  on  the  brightest  lights  in  white  chalk,  using 
a finely-sharpened  piece  of  chalk,  and  drawing  with  it  a 
delicate  line  or  network  of  lines,  over  the  place  where  the 
highest  light  is,  according  to  its  size.  Sometimes,  for  in- 
stance if  you  are  drawing  a head  on  gray-blue  paper,  it  is 
very  effective  to  put  a high  light  behind  the  head  by  cross- 


CHARCOAL-DKAWING. 


43 


ing  the  paper  in  that  part  with  a network  of  white  lines. 
It  throws  the  head  out  with  \/onderful  effect.  Or  if  you  are 
drawing  a landscape  with  a dark  sky  with  a bright  streak 
near  the  horizon,  put  in  that  brilliant  streak  wdth  white 
chalk ; or  if  you  have  large  white  floating  clouds  you  may 
touch  them  up  here  and  there  with  chalk.  A number  of  illus- 
trations will  suggest  themsel  ves  to  the  reader. 

Another  style  of  drawing  is  to  proceed  as  follows : Fasten 
your  paper  to  the  board  as  before.  The  paper  may  either 
be  tinted  or  white  as  preferred.  Make  your  drawing  with 
the  point  and  then  shade  with  the  point.  The  shading  in 
this  case  is  to  be  rubbed  in  afterwards  wdth  the  stump,  so 
that  it  is  best  to  take  a soft  piece  of  charcoal  and  rub  it  on 
not  in  lines  always  but  with  the  side  of  the  point.  The 
point  in  this  way  will  soon  wear  down  and  become  flattened 
on  one  side,  and  will  make  soft  broad  lines  or  streaks.  Put 
on  your  sliading  with  a light  hand,  and  do  not  bear  down 
upon  }mur  point  unless  you  want  it  very  black.  Experience 
will  soon  teach  you  how  to  regulate  this.  Then  take  your 
stump  and  proceed  to  rub  the  shading  in  with  it.  There  are 
different  kinds  of  stumps,  those  made  of  chamois  leather 
and  those  made  of  paper.  The  latter  are  generally  thought 
the  best  adapted  to  charcoal  drawing.  They  are  used  priu- 


44 


CHARCOAL -DRAWING. 


cipally  by  the  artists  in  France,  and  a drawing  where  they 
are  used  is  called  a Tortillon  drawing.  Take  your  stu^^ip, 
holding  it  as  you  would  a pencil,  and  proceed  to  work  the 
charcoal  into  the  paper.  Hold  your  stump  so  that  the  side 
of  the  point  comes  in  contact  with  the  paper  and  you  will  get 
a broader,  smoother  effect.  When  working  in  a very  small 
place  you  may  work  with  the  point,  but  it  is  not  a good  plan 
unless  you  cannot  help  it.  Stumps  are  of  all  sizes,  and  you 
must  select  your  sizes  according  to  your  work.  A couple 
of  very  small  ones,  a couple  of  medium  sized  ones,  and  a 
couple  of  larger  ones  do  very  well  for  a beginning.  These 
stumps  have  two  ends  each,  and  one  should  be  kept  for  clean 
work  and  the  other  for  dirty  work;  for  in.stance,  one  for  deli- 
cate tones  and  one  for  dark  tones.  However,  as  these  stumps 
are  very  cheap  it  is  as  well  to  have  a good  many  of  them 
for  they  soon  wear  out.  Up  to  a certain  point  they  imj)rove 
with  use,  and  a well-used  stump  gains  a softness  and  plia- 
bility that  is  missing  in  a new  stump,  which  is  often  quite 
unmanageable.  To  one  who  knows  anything  about  paint- 
ing in  water-colors  it  will  be  a great  aid  to  remember  that 
this  stump  work  is  very  much  like  putting  on  a wash  in 
water-color  painting.  He  may  consider  the  charcoal  which 
he  puts  on  witli  the  point  as  the  color  and  the  work  with  the 


CHARCOAL-DRAWING. 


45 


stump  as  the  spreading  of  that  color.  As  in  painting  he  will 
have  to  put  on  successive  layers  to  make  the  shade  or  tone 
dark  enough.  The  best  way  to  work  is  to  make  all  the 
darkest  shadows  or  tones  first,  then  the  half-tones,  or  next 
darkest  shadows,  and  so  work  gradually  uj:)  into  the  lightest 
tones,  and  fade  away  altogether  in  the  liigh  lights.  These 
tones  must  be  considered  very  carefully  that  the  values  may 
be  right,  for  upon  the  values  depends  the  great  worth  of  a 
charcoal  drawing. 

By  tlie  values  is  meant  the  different  tones  in  their  relations 
to  one  another;  thus:  the  pupil  should  carefully  weigh  in 
his  mind  after  he  puts  on  his  darkest  tones  the  values  of  the 
other  shades  with  that  tone.  How  much  lighter  is  the  next 
shade,  and  how  much  lighter  is  the  next  shade  to  that,  and  in 
reference  to  some  point  in  the  picture,  is  it  lighter  or  darker 
than  the  surrounding  shades,  and  if  so,  how  much  lighter  or 
darker?  In  this  way  lie  will  preserve  the  balance  of  his  draw- 
ing and  it  will  be  correct.  In  copying  of  course  this  will  all 
be  done  for  him  in  his  copy,  but  he  will  be  enabled  to  copy 
it  more  intelligently  and  to  understand  and  appreciate  more 
fully  a good  charcoal  drawing  when  he  sees  it.  It  is  very 
good  practice  to  take  any  drawing  and  go  over  it  carefully, 
pointing  out  each  different  tone  and  comparing  it  with  the 


46 


CHAKCOAL-DKAWING. 


other  tones.  Too  much  cannot  be  said  about  this,  it  is  such 
an  inestimable  aid.  When  the  pupil  is  drawing  from  life 
he  may  choose  an  object  or  model  and  proceed  to  select  the 
different  tones  in  that.  This  is  true  of  all  drawing,  but 
especially  so  of  charcoal  drawing,  where  the  tones  are  so 
susceptible  of  delicate  gradations.  The  best  method  to 
begin  a charcoal  drawing  is  after  having  drawn  the  outline 
to  proceed  to  do  what  is  called  block  it  in.  That  is  to  deter- 
mine the  outlines  of  the  shadows,  and  indicating  them  with 
a very  delicate  line  proceed  to  fill  them  in  in  what  is  called 
a flat  tone,  that  is  one  which  is  all  one  color  or  shade  witliout 
gradations  (see  illustration  of  blocking-in').  When  your 
blocking-in  is  done  carefully  and  conscientiously  you  may 
then  proceed  to  blend  your  tones  together  by  working  along 
their  connecting  edges  — then  proceed  to  put  in  the  details 
in  the  shadows  and  all  the  little  modifications  of  tone. 

In  working  in  charcoal  when  you  have  experience  enough 
you  may  use  your  fingers  often  to  help  out  the  stump,  but 
unless  you  are  skilful  you  will  make  your  drawing  smootchy. 

There  are  different  kinds  of  charcoal,  and  it  is  better  to 
get  the  best  quality,  as  the  inferior  qualities  often  have  a 
brownish  tinge  to  them  or  little  gritty  places  in  them  and  do 
not  work  smoothly.  When  sharpening  a jnece  of  charcoal  it 


CHARCOAL-DKAWING. 


47 


48 


CHARCOAL-DRAWING. 


is  best  to  hold  it  in  your  left  hand,  letting  it  lie  along  the 
forefinger  and  cutting  it  towards  you  up  the  charcoal,  away 
from  the  point;  cut  only  little  slivers  off  at  a stroke.  It 
requires  some  experience  to  sharpen  a charcoal  point  well. 
When  it  is  sharpened  place  it  in  your  holder.  The  chamois 
skin  is  to  rub  larger  shadows  with  instead  of  the  stump. 
Put  it  over  your  finger  or  fingers  and  rub  your  charcoal 
into  the  paper. 

The  pointed  rubber  should  be  a stiff  white  one,  long  in 
shape,  sharpened  at  both  points.  Keep  one  point  clean  for 
delicate  work.  It  is  to  work  in  fine  places  with.  The  use 
of  the  bread  has  been  already  explained.  The  clean  rags 
are  to  dust  or  wipe  away  the  little  particles  which  you  have 
rubbed  out ; or  if  you  wish  a very  smooth  flat  tone  you  may 
use  it  over  your  finger  instead  of  the  chamois.  Sometimes 
you  can  get  a very  clear,  delicate  tone  this  way. 

Charcoal-Drawing  to  imitate  Lithography.  — Get 
a pine-wood  frame  and  a sheet  of  crayon-paper.  Ascer- 
tain the  size  of  the  lithograph  that  you  intend  to  copy; 
have  the  frame  near  the  size;  cut  the  crayon-paper  to 
match,  and  commence  to  sketch  it  in  the  following  man- 
ner: Put  some  strong  flour-paste,  such  as  bookbinders 
use,  over  the  frame.  Damp  your  crayon-paper  with  clean 


CHARCOAL-DRAWING. 


49 


water,  and  paste  your  paper  upon  the  frame:  when  dry 
it  will  be  ready  to  work  upon.  Proceed  in  the  following 
way : draw  in  your  subject  with  charcoal ; use  tlie  stump 
to  blend,  repeating  the  shades  until  you  get  what  you 
want.  As  finer  touches  are  required  for  foliage  and 
branches,  houses  and  figures,  these  have  to  be  done  with 
the  fine  point  of  your  black  chalk.  A few  lights  can  be 
added  to  advantage  with  the  wliite  chalk.  When  all  this 
is  completed  to  your  satisfiiction,  preserve  the  drawing 
by  coating  over  the  back  of  it  with  “preserving-varnish.” 
When  dry,  cut  out  your  drawing,  and  mount  it  upon  a 
sheet  of  stiff  white  board. 

AVhen  you  have  worked  in  all  you  can,  use  a liquid 
fixatif:  this  can  be  obtained  from  tlie  publishers  of  this 
book,  with  full  directions  how  to  use  it.  After  the  fixatif 
has  been  applied,  it  secures  your  drawing;  and,  if  desir- 
able, you  can  retouch  with  charcoal  and  chalk  to  good 
purpose.  Always  use  the  fixatif  after  retouching.  This 
can  be  repeated  indefinitely. 

The  same  process,  from  beginning  to  end,  can  be  as 
readily  drawn  on  canvas,  the  fixatif  applied,  and,  when 
you  have  obtained  all  the  effect  you  wish,  you  can  com- 
mence oil-painting  right  over  it. 


After  one  has  learned  to  draw  with  a pencil  he  can 
very  readily  adapt  that  knowledge  to  any  style  of  draw- 
ing, whether  it  be  pen  and  ink,  a brush,  charcoal,  crayon, 
pastel,  or,  in  fact,  anything  which  is  in  any  way  used  for 
drawing.  A very  hard  lead  pencil  requires  different  man- 


50 


CRAYON  DRAWING. 


51 


as:ement  from  one  very  soft ; a brush  requires  still  different 
treatment,  but  a very  little  practice  will  teach  one  liovv  to 
use  the  brush  or  the  crayon  as  skilfully  as  the  pencil. 

Black  Crayon. — Crayon  drawing  is  very  much  like 
charcoal  drawing,  and  the  pupil  will  find  it  much  easier 
to  understand  if  he  reads  the  article  referring  to  charcoal 
drawing.  Crayon  is  used  exactly  as  charcoal  is.  The 
material  is  almost  the  same,  excepting  that  crayons  are 
harder  than  charcoal  points.  The  paper  is  almost  the 
same,  excepting  that  the  crayon  paper  is  a little  heavier, 
and  not  quite  so  rough.  The  crayon  points  vary  in  quality 
and  are  of  different  grades  of  blackness,  as  in  charcoal. 
They  are  sharpened  the  same  way,  and  are  also  used  in 
a holder.  You  use  bread  and  rubber,  as  in  charcoal  draw- 
ing. The  only  point  in  which  they  differ  is  that  you  use 
chamois  leather  stumps,  as  a general  thing,  in  preference 
to  paper  ones.  The  reader,  therefore,  is  refeiTed  to  the 
article  on  charcoal  drawing,  and  will  find  it  will  apply 
equally  well  to  crayon  drawing  if  he  merely  substitutes 
the  word  “crayon”  for  charcoal.  He  will  find  that  a 
crayon  drawing  can  be  brought  to  a higher  point  of  per- 
fection in  the  way  of  finish,  as  crayon  does  not  rub  off  so 
easily,  and  can  be  worked  upon  longer  and  more  in  detail. 


62 


CRAYON  DRAWING. 


Colored  Crayon.  — Colored  crayons  or  pastiles  are  put 
up  in  boxes  of  assorted  tints  for  portraits  or  landscapes, 
and  by  the  blending  of  these  every  kind  of  shade  and  color 
can  be  obtained,  as  in  oil  painting.  Get  dry  colors,  grind 
them  very  fine  in  water,  add  any  of  the  following  gums, 
dissolved  in  water : gum  arabic,  gum  tragacanth,  honey 
water,  sugar  candy  water ; a portion  of  this  is  added 
merely  to  bind  the  color : some  colors  require  a little 
more  than  others.  If  too  much  gum  is  put  in,  they 
will  be  hard,  and  not  rub  off  so  readily.  Gradations  of 
tint  are  made  by  adding  chalk  or  plaster  to  the  color ; for 
instance,  we  will  select  carmine ; add  two  parts  of  chalk 
to  one  of  carmine,  and  call  that  one  tint ; add  three  parts 
chalk  to  one  of  carmine  — call  that  another ; add  five 
parts  chalk  to  one  of  carmine  — call  that  another ; and 
so  with  all  the  colors,  in  any  number  of  tints  to  suit 
yourself.  In  order  to  form  the  color  into  crayons,  press 
it  and  roll  it  out  the  size  you  wish ; place  it  upon  ab- 
sorbent paper,  — white  blotting  paper  is  the  best,  — 
and  let  them  dry  gradually. 

Crayon  Papers.  — Almost  any  kind  of  paper  may 
be  used  by  being  previously  rubbed  with  cuttle  fish,  (if 


CRAYON  DRAWING. 


53 


it  have  a very  smooth  surface;)  but  there  are  papers 
manufactured  especially  for  crayon  painting  and  these 
have  the  advantage  of  greatly  assisting  and  facilitating 
the  progress  by  readily  receiving  the  crayon. 

A good  paper  for  portraiture  is  pumice  paper.  The 
paper  is  prepared  with  a coat  of  starch,  or  isinglass,  put 
over  the  surface  w^hile  warm,  after  which  it  is  dashed  all 
over  equally  with  fine  pumice  sand.  Panels  of  wood, 
mill-boards,  and  canvas  can  be  prepared  in  the  same  way. 
The  pupil  is  recommended  to  study  the  designs  in  pencil 
drawing  ; many  of  the  principles  there  illustrated  are  of 
equal  use  in  this. 

Directions  for  Monochromatic  Drawing.  — Take 
pasteboard  or  drawing  paper  of  good  quality,  size  with 
isinglass,  or  paint  with  pure  white  lead.  When  this  has 
been  thoroughly  dried,  smooth  it  well  with  sandpaper, 
and  paint  again  perfectly  smooth  ; while  this  coat  is  yet 
hardly  dry,  sift  upon  it  pulverized  white  marble,  through 
fine  muslin.  Marble  can  be  easily  pulverized  after  burn- 
ing it.  When  dry,  shake  ofi*  the  loose  particles.  (The 
process  is  rather  tedious,  and  requires  care,  especially  in 
the  marbling.  The  paper  all  prepared  can  be  had  of  the 
publishers  of  this  book,  or  at  any  artist-supply  store.) 


54 


CRAYON  DRAWING. 


If  you  wish  a tinted  surface,  add  color  to  the  white 
paint. 

You  will  need  for  this  painting  a knife  or  eraser,  cray- 
ons, fine  sponge,  pencils,  cork,  rubber,  piece  of  kid,  and 
crayon  holders.  Fold  several  pieces  of  kid  and  soft 
leather,  and  use  in  shading  the  sharp  folded  corners  ; 
also  double  some  pieces  over  the  ends  of  pointed  and 
rounded  sticks ; the  learner  will  find  use  for  several 
kinds.  Always  commence  painting  with  the  dark  shades, 
and  blend  gradually  into  the  light.  For  very  dark 
shades,  rub  the  crayon  directly  upon  the  surface  with  a 
light  hand,  and  blend  off  carefully. 

Paint  the  sky  first  as  in  water  colors.  It  is  well  to 
shade  distant  mountains  very  light  at  first,  and  be  sure  to 
have  the  edges  soft  and  faint. 

For  water,  scrape  some  black  crayon  into  a powder, 
and  lay  it  on  your  board  with  the  kid,  working  it  hori- 
zontally, and  making  the  lights  and  shades  stronger 
as  it  comes  nearer.  Your  sponge  may  do  good  in  ren- 
dering the  water  transparent.  Make  sharp  lights  with  the 
penknife. 

Ruins  overgrown  with  moss,  and  dilapidated  build- 
ings, make  pretty  pictures.  We  have  seen  moonlight 


CRAYON  DRAWING. 


55 


views,  in  this  style  of  painting,  more  beautiful  than 
any  thing  else. 

Great  care  must  be  taken  to  do  the  foliage  well ; many 
a picture,  which  would  have  been  good  otherwise,  has 
been  spoiled  by  a stiff,  ugly  tree.  By  a delicate  use  of 
the  round  point  of  a penknife,  beautiful  effects  can  be 
produced  in  the  crayon  shading. 

Figures,  animals,  etc.,  are  put  in  last,  and  a person 
knowing  how  to  shade  in  pencil  will  find  no  difficulty 
in  this. 

Colored  Crayon.  - — The  monochromatic  hoard  is 
very  good  for  this  kind  of  painting. 

Sometimes  we  make  a strong  frame  of  the  size  of  the 
picture  which  we  intend  to  paint,  and  upon  this  we 
stretch  three  thicknesses  of  paper  ; then  size  or  paint 
it,  and  sift  marble  dust  equally  over  every  part  while 
wet.  When  dry,  the  superfluous  particles  are  blown  or 
dusted  off. 

If  you  use  the  monochromatic  board,  it  will  be  well 
for  you  to  transfer  your  picture,  as  in  papier  mache 
painting.  If  you  stretch  your  paper  on  a frame,  draw 
the  picture  on  the  paper,  and  shade  it  nicely  with  Indian 
ink  (water  color)  before  sizing  or  painting  it. 


56 


CRAYON  DRAWING. 


For  a group  of  fruit  and  flowers,  first  arrange  the 
natural  ones  and  study  the  effect.  For  a head,  we  con- 
sider the  drapery  and  groundwork  ; and  here  allow  us 
to  advise  all  persons  to  study  penciling  before  attempt- 
ing this  kind  of  painting ; also,  to  begin  by  painting 
simple  and  easy  things.  To  those  who  absolutely  wish 
a colored  picture,  and  have  little  ability  to  draw  it, 
we  recommend  that  they  stretch  a nice  engraving  land- 
scape or  head  on  the  frame,  at  the  outset,  and  pre- 
pare it  with  the  sizing  and  sand.  This  gives  a good 
foundation. 

The  picture  being  drawn,  proceed  to  fill  in  the  back- 
ground, not  of  one  uniform  tint,  but  varying  in  shade 
and  color  according  to  the  picture  ; for  example,  if  the 
lights  in  your  picture  are  on  the  right  side,  the  darkest 
shade  in  the  groundwork  must  be  placed  on  the  right 
side,  and  vice  versa.  See  that  the  background  be 
smooth,  the  dark  shades  of  rich  brown  or  green,  and 
the  light  of  gray,  French  blue,  etc. ; then,  — 

1st.  Paint  the  dark  shades  of  your  picture  with  black 
crayon,  and  rub  it  in  with  a soft  cork.  The  cork  pencils 
ready  prepared  are  best  for  that  purpose,  or  rubbers  of 
soft  leather  will  answer. 


CKAYON  DRAWING. 


57 


2d.  Put  in  the  light,  clear  shades,  as  they  belong, 
with  the  soft  and  medium  crayons,  using  the  utmost 
care  in  blending  with  the  cork,  (or  leather,)  to  avoid  a 
dingy  and  dirty  appearance. 

3d.  Lay  on  the  browms  and  other  dark  colors.  Where 
it  is  necessary  to  put  brown  over  black,  or  to  blend  it 
in  with  it,  do  not  rub  the  two  together ; use  your 
finger,  as  well  as  the  cork. 

4th.  Finish  the  picture  with  the  hard  crayon,  laying 
on  in  lines  and  blending  with  the  cork. 

Having  a variety  of  colors  for  other  styles  of  painting,  we 
leave  you  to  use  your  judgment  in  selecting  from  your 
boxes.  You  must  have  a box  of  soft  and  a box  of  hard 
crayons,  from  which  to  obtain  what  you  need. 

Always  try  the  colors  on  a bit  of  waste  paper. 

Do  not  expect  to  have  just  the  right  thing  by  simply 
laying  on  the  colors  once ; you  must  work  line  over  line 
very  carefully,  and  many  times.  The  artist  must  exer- 
cise great  care  that  the  picture  does  not  become  soiled 
in  the  delicate  parts. 

In  addition  to  the  colors  you  find  in  your  boxes,  fur- 
nish yourself  with  black  and  white  crayons  of  different 
tones,  and  a good  supply  of  carmine.  We  prefer  the 


58 


CRAYON  DRAWING. 


lump  to  the  pencil.  French  blue  is  much  used  to  pro- 
duce clear  lights. 

Colored  crayons  are  well  adapted  for  landscape  drawing, 
and  for  this  a harder  crayon  than  that  used  for  portraiture 
is  preferable.  The  most  useful  colors  are  white,  (white 
Italian  chalk,)  straw  color  and  light  yellow,  (pale  and 
middle,  deepening  to  sober  full  yellows  of  the  yellow  and 
and  brown  ocher  hues.)  Blue,  (bright  azure  tints  of 
varied  strength,  pale  and  dark.)  Gray,  (pale  and  deep, 
of  blue,  neutral,  and  warm  tones.)  Reds,  (vermilion 
tints,  pale  and  middle,  Indian  red.)  Blacks,  (Nos.  1,  2, 
and  3.)  The  paper  must  be  of  some  available  tint,  as  its 
color  appears  through  almost  all  portions  of  the  work  ; a 
low-toned  olive  tint  has  been  found  very  available.  Hav- 
ing the  paper  an  inch  or  two  larger  than  the  proposed 
picture,  sketch  the  design  lightly  with  the  black  crayon 
No.  1,  making  sky  and  broad  tints  with  the  flat  surface 
of  broken  pieces  of  crayon,  (1  and  2,)  rubbed  in  with  the 
Anger  ; the  breadths  of  the  nearer  and  remote  distances 
are  laid  in  with  pieces  of  broken  crayon  blended  and 
worked  together.  The  mountains,  trees,  rocks,  etc.,  aie 
drawn  in  with  black  crayons,  and  then  appropriately 
tinted  and  glazed  with  the  colored  crayons. 


CRAYON  DRAWING. 


59 


Method  or  eixing  Crayon  Drawings  by  Steam. 
— Crayon  drawings  are  more  likely  than  any  other  kind 
to  become  disfigured  and  defaced,  if  handled  carelessly. 
A method  of  preserving  them  is  highly  spoken  of  by 
those  who  practice  this  branch.  Get  a tin  vessel  with  a 
tight-fitting  lid,  and  a pipe  projecting  from  the  side  of 
the  vessel,  five  or  six  inches  long,  with  a small  head 
perforated  with  numerous  holes,  similar  to  a common 
watering  can  ; into  this  vessel  put  two  ounces  of  the 
strongest  alcohol,  and  two  drams  of  powdered  sugar 
candy.  Boil  it  over  a spirit  lamp ; the  steam  which 
issues  from  the  pipe  must  be  directed  to  the  back  of 
your  picture,  until  the  paper  and  colors  are  perfectly 
saturated. 

To  PRESERVE  Pencil  Drawings.  — Best  alcohol, 
two  ounces  ; camphor,  four  grains.  When  dissolved  it 
IS  ready  for  use.  If  the  drawing  is  on  ordinary  draw- 
ing paper,  the  solution  can  be  coated  on  the  back  of 
the  drawing,  and  the  paper  will  readily  absorb  suffi- 
cient of  the  liquid  to  hold  the  lead  pencil.  If  the 
drawing  is  on  Bristol  board,  it  will  be  necessary  to  coat 
it  over  rapidly  on  the  drawing  side  ; or,  what  is  better, 
put  the  solution  in  a shallow  dish,  and  slip  the  draw- 


60 


CRAYON  DRAWING. 


ing  through  ; see  that  the  liquid  has  been  all  over  it ; 
then  stick  a pin  through  one  corner,  and  let  it  hang 
up  perpendicularly  to  dry.  Another  way  is,  to  use 
weak  skim  milk,  and  immerse  your  drawing  in  that, 
drying  it  in  the  same  manner  as  before. 


Black  and  White.  — This  subject  covers  everything 
which  is  done  in  black  on  a white  surface,  viz. : pen-and- 
ink  drawing  — drawing  in  India  ink,  with  the  brush, 
lead-pencil  drawing,  crayon  and  charcoal  drawing.  This 
is  the  true  definition  of  black  and  white  drawing,  but 
it  need  not  necessarily  be  done  upon  a white  ground, 
that  is,  white  paper.  Very  often  a softer  effect  may  be 
obtained  by  working  upon  a tinted  surface  in  black,  and, 
if  desirable,  brightening  the  effect  still  more  by  touch- 
ing here  and  there  with  Chinese  white,  or  with  white 

61 


62 


BLACK  AND  WHITE  DRAWING. 


crayon,  or  chalk,  where  you  wish  the  strongest  effects 
of  light.  This  method  may  be  pursued  thus:  Make  your 
drawing  as  described  in  chapters  on  black  crayon,  char- 
coal, pencil-drawing,  etc.,  and  rub  on  in  a solid  mass 
white  with  the  point  of  your  chalk,  where  there  is  a 
large  surface  of  light,  or  draw  sharp  lines  when  you 
wish  brilliant  and  sharp  contrasts.  Where  you  wish 
transparent  effects  put  on  your  white  with  the  point  in 
sets  of  lines  crossing  one  another  at  acute  angles,  as  in 
shading  with  a black  point. 

Black  and  White  Drawing  on  Erasing  Paper.  — 
This  style  of  drawing,  which  is  very  easy  of  execution, 
is  also  very  effective,  and  can  be  practised  not  only  for 
the  purpose  of  making  most  attractive  little  pictures,  but 
as  a means  of  reproducing,  with  great  quickness  and 
facility,  impressions  received  from  landscajDCs,  marine 
views,  skies,  etc.,  under  striking  conditions  of  light  and 
shadow.  In  atmospheric  changes,  such  as  mist,  snow,  and 
moonlight,  effects  are  very  easily  produced.  The  articles 
required  for  this  drawing  are  varied  according  to  the 
style  of  drawing  you  find  most  pleasing  to  your  per- 
sonal taste,  or  most  adapted  to  your  need.  I will  de- 


BLACK  AND  WHITE  DK AWING. 


63 


scribe  the  simplest  style  first.  You  will  require  erasing 
paper,  a kind  of  paper  prepared  for  the  purpose,*  and 
without  which  you  cannot  make  tliese  drawings.  It  is 
made  in  almost  every  tint,  from  dark  slate  color,  through 
the  pearly-gray  tints,  to  grayish  white;  from  brownish- 
drab,  through  the  creamy  shades  to  almost  white;  or  of 
the  greenish-gray  shades.  Having  procured  your  paper, 
take  a finely-pointed  soft  pencil  and  make  a drawing  of 
whatever  you  wish  upon  it.  This  drawing  will  merely  re- 
quire to  b"  shaded  in  the  darkest  and  the  next  to  the  dark- 
est portions  with  ordinary  line-shading,  the  tint  of  the  paper 
serving  as  the  middle-tint  or  half-shadow  between  light  and 
shade.  Now  take  your  penknife  and  scratch  away  the 
tinted  surface  of  the  paper  where  you  wish  to  have  a high 
light  with  its  point.  You  will  find  that  the  surface  will 
yield  readily  to  the  strokes  of  your  knife,  and  you  will 
uncover  a surface,  or  by  a single  stroke  a line  as  deli- 
cate as  you  choose,  of  pure  white.  For  instance,  to  tnke 
an  example  — you  have,  let  us  say,  a drawing  of  an  old 
church  tower  in  the  foreground  on  gray  paper.  The 
tower  is  shaded  darkly  in  pencil  to  stand  out  against 
the  tinted  back-ground  which  answers  for  the  tint  of 


* It  is  supplied  by  the  publishers  of  this  book. 


64 


BLACK  AND  WHITE  DRAWING. 


the  sky.  You  have  a few  lightly-sketched  roofs  nestling 
at  the  base  of  the  tower,  shaded  more  lightly  than  the 
tower,  in  pencil.  Now  take  your  knife  and  scratch  a 
round  white  spot  for  the  moon,  partly  hidden  behind  the 
church  tower.  Sketch  in  a few  clouds  with  your  pencil, 
slightly  shaded,  and  again  taking  your  knife  scratch  the 
edges  of  your  clouds  nearest  the  moon  with  a few 
delicate  white  lines,  that  they  may  look  as  if  touched 
by  its  light.  Still  another  style  is  to  proceed  as  above 
except  that  instead  of  line-shading  you  may  (still  using 
a pencil  as  before)  rub  your  shading  in  with  a stump 
or  the  end  of  your  finger,  if  you  are  sufficiently  skil- 
ful. This  produces  a very  soft,  delicate  effect,  and  has 
the  merit  of  being  a quicker  way  of  working.  Then 
proceed  as  before  to  scratch  out  your  high  lights.  Still 
another  method  is  to  make  your  drawing  in  India  ink, 
and  then  scratch  out  the  white.  Charcoal  and  crayon 
do  not  work  so  well  upon  this  paper  and  are  not  rec- 
ommended, but  if  the  reader  cares  to  experiment  for 
himself  he  may  be  partially  successful  with  them.  This 
is  called  black  and  white  drawing,  but  if  one  chooses, 
one  may  obtain  very  pretty  effects  by  using  water-colors, 
or  colored  crayon  on  this  paper.  Sometimes  white 


BLACK  AND  WHITE  DRAWING. 


65 


flowers  are  veiy  effective  done  in  this  way  with  their 
green  leaves  and  stetns  painted,  or  a group  of  green 
fir  trees,  with  the  snow  upon  them.  It  recommends 

itself  for  this  style  of  painting,  as  it  is  so  much  easier 
to  scratch  out  the  white  than  to  put  it  on  with  white 
paint,  which  is  always  an  arduous  and  tiresome  process, 
as  it  is  difficult  to  obtain  a strong  and  a perfect  white 
without  repeated  coats  of  paint. 

According  to  the  manner  in  which  you  scratch  off  the 
tinted  surface  your  effect  will  be  produced.  There  are 
different  modes  of  scratching;  thus,  to  produce  a solid 
white  mass,  such  as  the  moon,  a smooth  bright  por- 
tion of  sky,  etc.,  in  fact  any  luminous  body,  you  must 
entirely  remove  your  gray  tint  in  such  a way  as  to 
leave  tlie  white  underneath  entirely  bare,  but  be  care- 
ful not  to  dig  into  that  white  or  rough  it  up.  In  draw- 
ing a white  mass,  such  as  snow,  at  the  lightest  portions 
the  gray  should  be  entirely  uncovered, — but  between 
them  and  the  shadows  the  white  should  be  broken  up 
by  bits  of  the  gray,  that  is,  the  white  should  not  be 
entirely  laid  bare,  but  should  possibly  be  scratched  in 
lines,  leaving  the  gray  between  them,  or  in  sets  of 
lines  crossing  each  other  at  acute  angles;  in  fact,  just 


66 


BLACK  AND  WHITE  DRAWING. 


as  you  would  draw  if  you  were  shading  in  black  with  a 
pencil,  only  the  paper  is  dark  and*  the  lines  white.  By 
working  in  this  way  the  white  and  the  dark  tones  will 
be  blended.  In  some  cases,  however,  where  you  wish 
a striking  effect,  such  as  in  moonlight,  the  white  may 
be  brought  close  to  the  blackest  shadows  with  great  effect ; 
as,  for  instance,  a bright  gleam  of  light  below  a black 
cloud,  — a snow-covered  roof  overhanging  the  black 
shadow  below  the  eaves,  etc.  In  flowers  great  deli- 
cacy may  be  given  by  blending  the  high  lights 
(scratched  portions)  with  the  half  tones,  (the  tint),  or 
shadows.  This  is  also  true  of  figures.  It  is  needless 
to  suggest  the  endless  subjects  that  are  fitted  for  treat- 
ment in  this  style  of  drawing  — the  careful  study  at 
home,  or  the  hasty  effect  caught  out  of  doors.  The 
paper,  which  comes  in  large  sheets,  may  be  cut  the 
size  of  your  sketch-book  and  laid  in  between  the 
leaves,  here  and  there,  to  be  ready  when  wanted. 
While  drawing  lay  another  piece  of  paper  under  the 
hand,  as  the  paper  will  show  spots  wherever  you  press 
upon  it  with  the  hands  or  fingers. 

The  publishers  of  this  book  are  now  preparing  studies 
in  this  style  of  drawing  to  aid  those  who  wish  to 


BLACK  AND  WHITE  DRAWING. 


67 


practise  it.  Copies  upon  the  required  paper,  drawn, 
shaded,  and  ready  prepared  to  scratch,  can  be  pro- 
cured; also,  packages  of  six  different  sketches  are  fur- 
nished, one  with  the  white  (high  lights)  as  a sample, 
and  the  others  ready  for  scratching.  Mounted  panels, 
with  gilt  edge  ready  drawn  for  scratching,  of  a great 
variety  of  tints  and  sizes,  or  plain  panels  with  no 
drawings  on  them,  of  the  required  paper,  of  many  sizes 
and  tints. 

Send  to  the  publishers  of  this  book  for  the  latest 
information  in  reference  to  Black  and  White  Drawing, 
Lists  of  Prepared  Panels,  Black  and  White  Design 
Cards,  etc. 


A GREAT  many  useful  and  ornamental  things  may  be  made 
by  applying  the  art  of  drawing  to  other  materials  than 
paper.  As  the  reader  will  easily  see,  the  same  rules  that  are 
applicable  to  pencil  drawing  serve  as  a guide  in  drawing 
with  other  implements  than  the  pencil,  viz. : In  drawing  on 
wood  let  him  remember  the  hints  already  given  him  on 
drawing,  and,  laying  down  his  pencil  for  the  pen,  he  will 
proceed  as  follows  : — 

Drawing  on  Wood.  — The  woods  generally  chosen  are 
white  holly,  pine,  cedar,  and  cherry.  The  last  two  woods 
must  be  prepared  very  carefully,  that  is,  so  as  to  have  a very 
smooth,  close  surface.  Any  cabinet-maker  will  make  such 


68 


DRAWING  ON  WOOD,  ETC. 


69 


simple  articles  as  boxes,  etc.,  and  at  artists’  stores  some  of 
the  more  elaborate  articles  are  kept.  To  draw  on  wood  the 
crow-quill  pen  should  be  used.  They  vary  as  the  ordinary 
writing  pens  do.  A fine  but  flexible  one  should  be  chosen. 
The  ink  used  is  liquid  India  ink.  This  ink,  which  is  per- 
fectly black,  becomes  thick  very  often,  and  can  be  diluted 
with  a drop  or  two  of  water. 

A rag  is  necessary  to  wipe  the  pen  on,  as  it  often  becomes 
clogged  by  the  quick  evaporation  of  the  moisture  in  the  ink. 
Almost  any  style  of  picture  may  be  drawn  in  tliis  way; 
line  engravings  may  be  copied,  a woodcut  from  a book,  a 
little  original  sketch  may  be  made,  etc.  The  outlines  and  as 
much  as  is  thought  necessary  should  be  first  drawn  in  pencil 
— use  a soft  pencil  and  draw  very  lightly,  as  rubbing  injures 
the  surface  of  the  wood.  This  drawing  should  be  correct 
and  as  detailed  as  possible  before  the  pen  is  used,  for  it  is 
difficult  to  erase  the  ink;  it  can  only  be  done  by  scraping 
it  off  with  a penknife,  or,  in  large  parts,  by  rubbing  with 
sandpaper,  and  neither  improves  its  appearance.  One  style 
of  drawing  on  wood  has  been  suggested ; that  is,  the  ordi- 
nary drawing  as  on  paper.  Another,  and  a very  decora- 
tive and  rich  style,  is  that  of  drawing  the  outlines  of  the 
figures,  putting  in  little  or  no  shading  iqion  the  figures,  and 


70 


DRAWING  ON  WOOD,  ETC. 


with  a brush  filling  in  the  background  with  black  paint 
(lampblack),  so  that  the  figures  stand  out  in  relief  and  look 
as  if  they  were  inlaid  in  ebony.  This  style  may  also  be 
used  on  almost  any  article.  These  outline  drawings  are 
not  always  so  easy  to  get,  but  will  be  supplied  by  the 
publishers  in  the  shape  of  transferring  designs,  which  will 
enable  any  one  without  the  knowledge  of  drawing  to 
transfer  in  a few  moments  by  a very  simple  process  any 
of  the  designs  on  to  the  wood.  (A  description,  with  full 
directions  how  to  use  transferring  designs,  will  be  found 
on  page  51.)  It  seems  almost  useless  to  suggest  to  the 
reader  the  articles  that  may  be  decorated  in  either  of  these 
two  styles.  Wooden  covers  for  portfolios,  sleeve-buttons, 
watch-stands,  card-cases,  easels,  palettes,  screens,  table- 
tops,  picture-frames,  mirror-frames,  etc.,  in  almost  endless 
variety.  To  protect  the  articles  after  they  are  finished 
they  may  be  polished  by  a cabinet-maker;  or,  which  is  not 
so  good,  varnished  by  the  artist  with  white  shellac. 

Drawing  on  Linen.  — This  is  sometimes,  but  very  inap- 
propriately, called  “Etching  on  Linen;”  see  chapter  on 
Etching.  To  draw  on  linen  the  same  materials  are  needed 
as  to  draw  on  wood,  only  in  drawing  on  articles  that  are 
to  be  wa.shed  a kind  of  indelible  ink  is  substituted  for  the 


DESIGN  FOR  A DOILY. 


72 


DRAWING  ON  WOOD,  ETC. 


India  ink.  Simple  designs  are  best  suited  to  drawing  on 
linen,  and  the  perforated  designs  are  also  suggested  for  this 
work.  The  pen  should  not  be  too  full  of  ink,  as  it  is  apt  to 
run  on  to  the  linen.  The  reader  will  find  after  a little  prac- 
tice that  the  pen  can  only  be  drawn  across  the  linen  in  cer- 
tain directions,  as  it  is  liable  to  catch  in  it  and  spatter. 
It  is  advisable  for  him  to  practise  on  some  little  pieces  at 
first,  as  it  requires  a certain  amount  of  skill.  Fine  linen 
is  the  best.  A great  variety  of  articles  may  be  made  in 
this  way;  doylies  and  table-mats,  tidies,  toilet-covers,  pin- 
cushions, splashers,  pillow-shams,  sheet-shams  (false  pieces 
to  cover  the  sheet  turned  over  at  the  head  of  a bed),  strips 
for  table  or  mantel-pieces,  tea-cloths,  the  corners  and 
pockets  of  aprons,  corners  of  collars  and  cufis,  etc.,  etc. 
We  have  spoken  of  drawing  on  linen,  but  the  same  rules 
apply  equally  well  to  drawing  on  satin,  silk,*  ribbons,  etc., 
only  that  more  articles  can  be  suggested,  such  as  scent- 
bags,  baby-shoes,  bows  for  the  neck,  banners,  screens, 
fans,  covered  boxes,  handkerchief-cases,  etc.  Drawing  on 
leather  or  kid  can  also  be  done  by  following  the  hints 
given  — such  articles  as  card-cases,  boxes,  note-books, 
portfolios,  albums,  music-rolls,  etc. 


* See,  for  sizing-,  the  chapter  on  painting  on  silk,  satin,  etc. 


Drawing  on  Fungi.  — The  common  fungus  that  is 

to  be  found  growing  upon  the  sides  of  trees  during  the 

summer  is  used  for  this  purpose.  They  generally  grow 

in  clusters,  and  are  shaped  like  w^all-brackets,  or,  more 

properly,  they  are  formed  like  a half  of  a hemisphere. 

They  vary  much  in  color,  from  yellow  to  cream^white. 

Select  those  you  think  the  best  in  size  or  shape  for  your 

purpose,  Jind  cut  or  tear  them  from  the  tree,  being  careful 

in  so  doing  not  to  handle  or  press  them  unnecessarily, 

as  your  fingers  will  mark  them.  Early  in  the  summer 

is  the  best  time  for  them.  In  order  to  tell  wliether  they 

are  fit  for  use  you  should  scratch  a few  lines  with  a pin, 

or  some  sharp  point,  on  the  upturned  surface,  as  they 

73 


74 


DRAWING  ON  FUNGI. 


grow  on  the  tree.  If  they  are  fresh  and  tender,  and 
your  pin  makes  little  dark  lines  with  ease  upon  them, 
they  are  fit  for  use.  Collect  some,  take  them  home, 
and  before  they  have  a chance  to  dry  take  somo  sharp 
point,  say  a pin  (a  large  black-headed  one  is  easiest  to 
manage).  See  that  it  is  not  sharp  enough  to  cut  into 
the  fungus,  only  to  scrape  the  light-colored  surface  off, 
and  then  proceed  to  draw,  as  if  you  had  a pen  in  your 
hand,  upon  the  surface  that  was  uppermost  while  it 
grew  on  the  tree.  If  you  have  not  gathered  it  yourself, 
or  have  forgotten  which  that  was  — it  is  simply  the  smooth, 
fair  side  where  it  has  not  been  torn  from  the  tree,  nor 
is  seamed  with  the  layers  of  its  growth.  The  top  of 
your  picture  should  be  the  curved  side  of  your  fungus, 
the  bottom  the  straight  side,  where  it  was  torn  from 
the  tree,  so  that  in  placing  it  upon  the  table  it  may  have 
a fiat  base  to  stand  on.  Draw,  and  you  will  find  your 
pin  leaves  dark  lines,  as  if  it  were  a pen,  almost  black 
on  the  darker  fungi  and  grading  up  to  browns,  like  sepia, 
on  the  lighter  ones.  This  is  sometimes  called  “Etching 
on  Fungus.”  Every  variety  of  drawing  may  be  made 
thus,  from  a careful  study  to  a quick  sketch  made  on 
the  spot  as  a remembrance  of  the  place  where  the  fungus 


DRAWING  ON  FUNGI. 


75 


was  gathered,  or  some  other  memory  of  a pleasant 
ramble.  They  make  pretty  ornaments  either  to  set 
upon  a shelf  or  bracket,  or  to  use  as  a pen-rack,  by 
placing  small  brass-headed  nails,  or  small  hooks  with  a 
straio-ht  bend  in  them,  such  as  come  for  fistening  back 
curtains,  exactly  opposite  each  other  around  the  upper 
curved  edge,  to  rest  the  pens  on,  so  that  they  will  lie 
across  the  picture.  If  your  fungus  is  large  enough,  and 
the  right  shape,  you  may  insert  a little  glass  inkstand 
in  it,  thus:  Set  it  upon  the  table;  see  that  it  stands 
firmly  ; if  the  curved  side,  which  will  then  be  upper- 
most, affords  enough  surface  to  insert  in  it  a little  glass 
cup  anywhere  in  an  upright  position  it  will  do.  A little 
glass  seed  or  water-cup,  such  as  is  used  in  bird-cages, 
will  do  for  your  inkstand.  If  you  cannot  cut  a place 
to  insert  it  with  your  knife,  a carpenter  can  make  a 
smooth',  round  hole  or  well  for  you  with  an  auger.  See 
that  he  handles  it  gently.  They  also  make  pretty  paper- 
weights. With  a little  ingenuity  they  may  be  arranged 
to  stand  with  the  curved  edge  down  and  the  straight 
edge  up.  Take  two  or  three  little  twigs;  leave  the 
bark  on  and  trim  off  some  of  the  little  branches  on  them, 
leaving  enough  to  make  them  look  rustic  and  natural. 


7Cy 


DRAWING  ON  FUNGI. 


Set  the  fungus  up  on  its  round  edge  and  measure  the 
length  the  twigs  must  be  to  support  it  from  behind  in 
that  position,  and  see  where  it  is  best  to  insert  them  to 
support  it.  Make  little  holes  in  the  fungus,  sharpen  the 
ends  of  the  twigs,  and  press  them  in  securely.  It  should 
now  be  quite  firm.  The  inside  may  be  scooped  out  with 
a knife  and  then  smoothed  with  coarse  sandpaper.  A 
wreath,  or  some  such  design,  may  be  drawn  around  the 
hole.  In  this  form  it  may  be  used  to  stand  on  a dressing- 
table  for  jewelry,  etc.,  or  on  the  table  for  an  ash-tray.  If 
it  is  varnished  inside  the  scooped  hole  thickly,  so  as  to 
hold  water,  a few  ferns  might  be  planted  in  it,  with  a 
little  earth  and  some  moss,  which  would  certainly  be  very 
pretty.  The  drawing  should  be  done  while  the  fungus 
is  moist  and  tender,  but  it  should  be  allowed  to  dry  and 
harden  before  you  attempt  any  cutting,  for  then  it  will 
not  be  apt  to  be  damaged  by  handling;  but  you  will 
have  to  be  careful  not  to  scrateh  it.  The  fungus  will 
cut  when  dry  like  tough  wood.  It  should  not  be  allowed 
to  become  very  hard,  however,  for  then  it  will  be  like 
hard  leather,  impossible  to  cut. 


Etching  ok  Engraving  by  Nitric  Acid.  — Engraving 
with  aquafortis  (nitric  acid)  is  the  method  of  fixing  a 
design  upon  metal  by  means  of  the  eating  into  the  metal 
of  an  acid.  It  consists  in  drawing  with  a sharp  point 
upon  a sheet  of  metal,  usually  copper,  polished  smoothly, 
and  covered  with  a layer  of  varnish  blackened  with 
smoke.  When  the  drawing  is  finished  it  is  exposed  to 


77 


78 


ETCHING. 


a bath  of  nitric  acid.  The  acid,  which  will  not  touch 
the  parts  covered  with  the  varnish,  will  eat  or  corrode 
the  lines  or  portions  laid  bare  by  the  sharp  point  with 
which  the  drawing  is  made.  The  varnish  is  then  washed 
off  with  spirits  of  turpentine,  and  the  drawing  is  found  to 
be  engraved  upon  the  copper  plate.  The  perfectness  of 
the  engraving  or  etching  can  only  be  tested  by  the  im- 
pression or  proof  taken  from  it,  although  an  experienced 
eye  can  judge  a good  deal  from  the  plate.  The  materials 
needed  are  these : — 

Cower  Plates.  — Hard  plates  are  the  best,  being  less 
porous,  as  the  acid  bites  in  more  quickly  and  deeper. 
Hammered  copper,  when  it  can  be  procured,  is  best. 

A Hand-Vice. 

Ordinary  Etching- Ground  and  Transparent  Ground  in 
balls. 

Liquid  Stopping- oid  Varnish. 

Sorne  CameVs  Hair  Brushes,  of  various  sizes. 

Two  Dahhers,  one  for  the  common  varnish,  one  for  the 
white  or  transparent  varnish.  (The  dabbers  are  made  by 
laying  a small  ball  of  cotton  wadding  on  a square  of  fine 
silk,  then  drawing  the  corners  of  the  silk  together  above 
the  ball  and  twisting  a piece  of  strong  thread  about  the 


ETCHING. 


79 


ends  just  above  the  cotton,  making  a thing  looking  like 
a shuttlecock.) 

Some  old  Candle-ends,  or  a kerosene  lamp,  to  smoke 
the  plate. 

A Point  or  Needle-Holder,  and  some  points  or  needles. 

A Burnisher. 

A Dry-point. 

A Scraper. 

A Fine  Whetstone  or  oil-stone. 

A Lens  or  magnifying-glass, 

Some  Wax,  to  make  a rim  round  the  plate. 

Iwo  Porcelain  Dishes  or  troughs;  one  for  acid,  one  for 
water. 

Some  Old  Gloves,  or  fingers  of  gloves,  to  protect  you 
from  the  acid. 

Nitric  Acid,  of  forty  degrees. 

Tracing-Paper.  — Gelatine  in  sheets,  chalk-paper,  or  paper 
for  transferring  the  outlines  to  the  surface  before  drawing. 

Emery-Paper. 

Blotting-Paper. 

A Boiler,  for  revarnishing  and  its  accessories. 

Some  old  rags. 

It  is  a good  thing  to  dilute  lampblack  in  the  stopping- 


80 


ETCHING. 


out  varnish.  It  is  used  principally  for  retouching  when 
a mistake  is  made. 

Tlie  points  can  be  sharpened,  when  necessary,  on  the 
whetstone. 

The  burnisher  must  be  kept  bright  or  it  will  scratch  the 
plate.  To  keep  it  so  it  is  a good  plan  to  make  two  grooves, 
just  the  width  of  the  burnisher,  in  a piece  of  board,  and 
running  the  length  of  the  board,  and  in  one  to  put  fine 
emery  powder,  and  in  the  other,  tripoli  and  oil.  Rub  it 
first  in  the  emery  and  then  through  the  tripoli,  and  it  will 
keep  bright. 

The  scraper  must  also  be  kept  with  a smooth,  sharp 
edge,  or  it  will  scratch  the  copper.  It  should  be  sharpened 
on  a very  hard  whetstone. 

A tunnel  is  necessary  to  pour  the  acid  back  into  the 
bottle  with. 

To  rub  up  the  copper  plate  there  are  many  ways.  One 
of  the  best  is  charcoal  rubbed  to  powder  on  the  whetstone 
and  mixed  with  oil. 

Keep  the  roller  out  of  the  dust  after  it  has  been  used. 

To  Prepare  the  Plate. — Take  the  copper  plate,  wash  it 
with  turpentine,  wipe  it  with  a soft  rag,  and  rub  it  with 
whiting  (silver  polish).  Take  the  hand-vice,  fold  some  pa- 


ETCHING. 


81 


per  to  put  between  the  points  of  the  vice  and  the  plate  to 
prevent  it  from  being  scratched,  and  hold  the  plate  firmly 
within  the  vice  by  one  corner  with  the  left  hand.  Hold  the 
plate,  with  the  polished  face  upwards,  over  a mild  heat,  say 
a spirit-lamp.  When  it  is  sufficiently  hot,  place  upon  the 
surface  a ball  or  piece  of  common  etching-ground  tied  up  in 
a piece  of  silk.  The  heat  will  melt  it.  If  the  plate  is  too 
hot  it  will  bubble  in  melting.  You  must  then  wait,  for  it 
will  burn.  When  the  plate  is  at  the  right  temperature  pass 
the  ball  of  etching-ground  over  the  whole  surface  of  the 
copper  without  deluging  it.  Then,  with  the  dabber,  pat 
it  all  over,  hard  and  quickly  in  the  beginning,  then,  as  it 
begins  to  cool,  more  slowly,  so  as  to  equalize  and  spread 
the  coating  of  etching-ground.  If  you  see  any  irregu- 
larity in  the  etching-ground  pat  it  with  the  dabber  until 
you  have  an  even  surfiice.  It  should  be  a thin  coating, 
enough  only  to  resist  the  action  of  the  acid,  and  yet  not 
too  thick  to  admit  of  very  fine  work  with  the  point  upon 
it,  which  would  be  difficult  were  the  ground  too  thick. 
Without  waiting  for  the  plate  to  become  cold  turn  it  over, 
and,  with  the  oil  lamp,  or  candle-ends,  or  whatever  you 
have,  smoke  the  gi'ounded  surface,  taking  care  not  to 
burn  it.  This  is  done  by  moving  the  plate  about  quickly. 


82 


ETCHING. 


and  not  exposing  the  same  spot  to  the  flame  but  an  instant. 
In  this  way  an  even  black  should  be  obtained  all  over  the 
surface  of  the  plate.  Let  it  cool  and  the  ground  will 
harden,  and  you  may  begin  your  drawing.  The  black 
surface  will  lose  its  brilliancy  when  cold.  The  streaky 
appearance,  if  there  is  any,  will  do  no  harm,  but  any 
roughness  or  appearance  of  bubbles  through  the  black 
shows  tliat  your  ground  has  been  burnt,  and  you  had 
better  wash  your  plate  in  spirits  of  turpentine,  and  begin 
all  over  again.  The  ground  or  varnish  is  thus  blackened 
that  you  may  see  the  marks  you  are  making  clearly. 
When  you  draw  your  drawing  will  be  reversed,  that  is, 
it  will  show  white  marhs  on  a black  ground,  but  that  you 
will  soon  accustom  yourself  to. 

You  are  now  ready  to  begin  your  drawing.  If  you  are 
near  a window  you  must  pull  down  the  shade,  for  the 
direct  light  of  a window  will  make  the  lines  of  your 
drawing  shine,  which  wdl  confuse  you ; but  out-of-doors 
this  will  not  troulfle  you,  as  the  light  comes  equally  from 
all  points,  and  in  so  doing  does  not  make  the  copper 
shine. 

You  may  now  draw  with  one  point  or  many,  as  you 
like,  but  on  tire  plate  you  will  obtain  but  one  set  of 


ETCHING. 


83 


lines,  without  planes  or  relief.  It  is  hij  the  biting  in  of  the 
acid  that  the  drawing  will  he  modulated  and  colored.  The 
point  should  be  held  as  perpendicularly  as  possible,  for 
the  purity  of  the  lines  consists  in  the  manner  in  which 
the  point  comes  in  contact  with  the  copper.  You  must 
learn  to  use  the  point  with  great  facility  and  freely.  For 
this  reason  the  point  must  not  be  too  shar23  or  it  will 
cut  through  the  varnish  and  scratch  the  copper;  if  too 
dull  it  will  also  stick  in  the  varnish  and  dig  into  the 
copper.  Try  it  on  the  edge  of  your  ]3late.  This  is  very 
important.  You  should  merely  feel  the  copper  under 
your  point  without  cutting  it;  at  the  same  time,  if  you 
do  not  cut  far  enough  down  through  the  varnish  the  acid 
cannot  touch  the  copper,  and  will  leave  no  line  there. 
In  the  beginning  you  will  try  to  draw  as  on  j^aper  — 
to  press  on  your  point  for  dark  lines  and  draw  lightly 
for  delicate  ones.  This  is  useless,  as  you  will  see  later. 
The  room  in  which  you  work  should  not  be  too  cold,  as 
the  varnish  does  not  cut  so  well  when  too  brittle.  To 
remedy  this,  however,  you  can  put  a couple  of  warm 
bricks  under  your  work,  renewing  them  occasionally  to 
keeiD  an  even  temperature.  The  impressions  taken  from 
your  plate  will,  in  all  cases,  show  the  design  reversed. 


84 


ETCHING. 


that  is,  just  the  opposite  of  what  you  have  drawn.  In 
many  drawings,  such  as  landscapes,  etc.,  this  may  not  be 
a matter  of  any  consequence,  but  in  figures  where  there  is 
action,  and  in  letters,  this  is  important.  You  must  there- 
fore draw  or  etch  on  your  plate  the  reverse  of  what  you 
wish  to  produce.  How  to  draw  in  reverse  may  be  learned 
in  two  ways,  viz. : make  your  design  just  as  you  wish 
it  to  appear,  place  it  before  a looking-glass,  and  draw  it 
on  your  plate  as  you  see  it  in  the  glass;  or  you  can 
make  a tracing  of  the  design  on  thin  tracing-paper,  and 
draw  on  your  plate  as  you  see  it  on  the  wrong  or 
reverse  side  of  the  paper.  A little  practice  will  teach 
one  how  to  draw  in  reverse  without  the  aid  of  glass 
or  tracing-paper.  To  protect  your  plate  while  draw- 
ing, lay  tissue-paper  under  your  hand.  If  you  make  a 
mistake  in  a line,  take  some  of  the  varnish  mixed  with 
lampblack  (retouching  varnish)  upon  a little  brush,  and 
stop  up  that  line  by  painting  it  over,  and  cut  a new  line. 
Draw  a line  or  border  round  your  sketch;  it  is  necessary 
for  the  printer,  if  you  send  them  to  be  printed. 

The  shining  of  the  copper  through  the  lines  that  have 
been  cut  often  deceives,  and  causes  you  to  believe  that 
you  have  done  more  drawing  in  certain  places  than  you 


ETCHING. 


85 


have.  Take  a piece  of  tracing-paper  and  lay  it  on  the 
plate,  and  you  will  see  the  lines  as  they  really  are.  Also 
use  the  lens,  which  will  help  you  more  than  anything, 
and  which  you  will  need  to  enable  you  to  do  fine  work. 

Put  on  your  glove  fingers  when  you  use  the  acid  or  it 
will  make  bad  work  with  your  hands. 

You  are  now  ready  to  expose  the  plates  to  the  acid. 
There  are  two  methods  of  doing  this.  One  is  to  take 
a deep  dish  or  bowl  large  enough  to  admit  of  the  plate 
lying  horizontally  upon  or  near  the  bottom.  The  dish 
or  bowl  must  be  of  porcelain,  glass,  glazed  earthenware,  or 
something  that  will  resist  the  action  of  the  acid.  Take 
your  plate  and  cover  the  margin  around  the  drawing  and 
the  back  with  a thick  coating  of  stopping-out  varnish. 
When  the  varnish  is  dry  lay  the  plate  in  the  dish,  face  up- 
wards, and  pour  over  it  enough  acid  to  cover  it  to  the 
depth  of  not  quite  an  inch ; with  this  depth  you  can  watch 
the  biting-in  process  on  your  plate. 

The  acid  bought  at  forty  degrees  should  be  mixed 
with  an  equal  quantity  of  water,  which  will  reduce  it 
to  twenty  degrees.  This  is  the  strength  generally  used 
for  ordinary  work.  AVhen  fresh  it  is  clear  and  slightly 
yellow;  when  it  begins  to  be  charged  with  the  copper, 


86 


ETCHING. 


it  turns  blue,  then  green.  It  is  too  crude  when  quite 
fresh,  and  it  is  best  to  put  a copper  cent  in  it,  or  a larger 
piece  of  copper,  the  day  before  using,  according  to  the 
volume  of  the  bath.  When  you  have  old  acid  which  has 
been  used  before  add  a little  of  that  instead.  This  is 
the  best  way  to  “ bite-in  ” a plate.  When  the  plate  is 
too  large,  however,  to  make  this  convenient,  take  some 
sheet  wax,  cut  it  into  strips  two  inches  or  an  inch  and 
a half  wide,  warm  it,  and  build  with  it  a little  perpen- 
dicular wall  all  around  your  plate  by  attaching  one  edge 
firmly  to  your  plate.  Make  on  one  corner  a little  nose, 
like  the  lip  of  a pitcher,  to  pour  off  the  acid  with  when 
the  plate  is  done.  To  prevent  its  leaking  where  the  wax 
wall  joins  the  plate,  heat  a key  and  run  it  round  on  the 
seam.  When  cool  it  will  be  acid-proof.  By  doing  this 
you  make  your  plate  into  a square  dish,  and  have  only 
to  pour  acid  into  it  to  the  depth  of  an  inch  or  less  and 
your  wall  will  hold  it.  Now  you  have  to  watch  your 
plate  carefully.  Let  us  tnke  an  example,  that  you  may 
understand  it  more  tlioroughly. 

You  are  supi^osed  to  have  drawn  a landscape.  In  the 
foreground  are  some  rocks,  a stone  bridge,  etc.  In  the 
middle  distance  is  a group  of  trees.  In  the  distance  are 


ETCHING. 


87 


mountains  A sky  with  a few  delicritc  clouds  fills  in  the 
top  of  the  picture.  You  have  drawn  this  with  one  point 
and  the  lines  look  very  much  alike.  How  are  you  to 
make  the  distance  fiiint,  the  middle  distance  strong, 
and  the  foreground  strongest  of  all?  It  is  done  thus,  and 
to  this  you  must  pay  attention  if  you  wish  to  acquire 
skill  in  etching : — 

You  wish  to  produce  delicate  lines  in  your  sky  and 
mountains.  Put  your  plate  into  the  acid;  leave  it  in 
only  long  enough  for  the  acid  to  begin  eating  into  the 
lines,  then  withdraw  it.  IIow  long  this  first  biting  into 
the  copper  will  take  depends  on  various  things.  It  will 
be  accomplished  quicker  in  a warm  temperature,  and  of 
course  it  will  also  depend  on  the  strengtli  of  3^our  acid, 
which  becomes  enfeebled  by  use;  that  is,  the  more 
heavily  it  is  charged  with  copper  from  former  contact 
with  plates.  Also,  it  is  dependent  on  the  quality  of 
your  copper.  Understanding  these  facts,  j^ou  will  be 
able,  with  the  aid  of  experience,  to  tell  when  the  deli- 
cate lines  of  your  sky  and  background  are  sufficiently 
bitten-in.  Should  you  see  any  bubbles  appear  on  the 
plate  while  it  is  in  the  acid  bath,  take  a small  feather 
and  pass  it  liglitly  over  them,  to  destroy  tliem,  for  they 


88 


ETCHING. 


will  injure  your  plate.  Now  withdraw  your  plate  and 
wash  it  thoroughly  in  clean  water  until  you  are  certain 
there  is  no  acid  left  in  the  lines.  Lay  over  it  some 
blotting-paper  in  such  a manner  as  to  entirely  dry  it. 
Then  take  a camel’s  hair  brush  and  cover  over  all  that 
part  of  the  plate  where  you  wish  delicate  lines  (viz., 
the  sky,  distance,  etc.)  with  stopping- out  varnish  mixed 
with  lampblack.  It  is  necessary  to  mix  black  with  it 
that  you  may  afterwards  see  what  parts  you  have  cov- 
ered, as  the  varnish  being  transparent,  you  could  not 
distinguish  it  from  the  uncovered  parts  when  dry.  Now 
we  come  to  the  middle  distance.  Put  your  plate  back 
into  the  acid  and  allow  it  to  remain  until  the  lines  are 
sufficiently  bitten-in  for  that  portion  of  the  picture.  Take 
it  out  and  repeat  the  same  process  as  at  first  (water,  blot- 
ting-paper, etc.).  This  second  set  of  lines  will  of  course 
be  stronger  than  the  first  set,  because  they  have  been 
exposed  to  the  acid  longer.  Repeat  this  process,  and  put 
it  in  the  acid  again  for  the  next  set  of  lines  (the  fore- 
ground), and  go  on  in  this  way  as  long  as  you  choose, 
according  to  the  various  effects  you  may  wish  to  pro- 
duce. 

Of  course  there  are  other  methods,  originated  by  va- 


ETCHING. 


89 


rious  artists,  for  which  yon  may  consult  such  books  as 
those  by  Hammerton,  Lalanne,  etc.  By  studying  the 
-etchings  of  such  men,  and  others,  Jacque,  Meissonier, 
Seymore,  Haden,  Whistler,  Daubigny,  Meryon,  Bracque- 
mond,  Jacquemart,  etc.,  you  may  gain  more  knowledge 
than  in  any  other  way. 

To  touch  up  the  plate  and  add  delicate  lines  and  effects 
after  the  acid  has  done  its  work,  you  use  what  is  called 
the  “ dry  point.”  You  make  it  very  shaiq^,  and  scratch 
your  lines  with  it  directly  upon  the  copper.  These  lines 
will  be  sharp  and  clear,  and  you  may  vary  them  in 
strength,  as  in  a drawing,  but  you  cannot  get  such  broad, 
strong  lines  in  this  way  as  you  have  already  in  your 
strong  lines  made  by  the  acid.  The  copper  will  be  thrown 
up  on  either  side  of  the  line  cut  by  the  dry  point,  like 
the  earth  by  a ploughshare,  and  you  will  have  to  take 
your  scraper,  which  is  triangular,  and  placing  one  of 
the  edges  flat  upon  your  lines  — something  as  you  would 
use  a hoe  — draw  it  obliquely  along  the  line  in  the  op- 
posite direction  from  that  in  which  you  moved  the  point 
when  drawing.  When  the  lines  cross,  scrape  each  set 
separately  after  you  draw  it,  and  before  you  draw  the 
next  set  running  in  a different  direction,  otherwise  the 


90 


ETCHING. 


lines  would  get  stopped  up  with  copper.  If  your  lines 
are  too  dark  in  any  place  take  the  burnisher,  and,  moist- 
ening that  place,  rub  down  the  copper  with  it,  which 
will  of  course  make  your  lines  less  deep  by  taking  from 
the  surface  of  the  copper.  Hold  your  burnisher  flat, 
that  you  may  not  make  too  much  of  a depression  in 
your  plate.  To  rub  down  a large  portion  of  your  jdate,  — 
wash  your  jilate,  take  some  flne  charcoal  dust,  'mix  it 
with  a little  water  and  some  oil,  and  rub  the  plate  down 
with  it.  The  drawing  on  the  plate  is  now  finished.  Take 
spirits  of  turpentine  and  wash  all  the  varnish  off  your 
plate,  when  it  will  be  ready  for  the  next  process,  which 
is  printing. 

You  may  have  your  etching  j3rinted  by  those  who  do 
such  work,  or  if  you  wish  to  save  expense  and  also  to 
experiment  a little,  you  may  do  it  yourself.  Warm  your 
plate  slightly  and  rub  upon  it,  by  means  of  a dabber, 
printing-ink.  This  ink  is  pure  black,  tempered  with 
bistre  or  Sienna  earth,  more  or  less,  as  may  be  desired. 
This  ink  you  spread  over  the  whole  plate,  then  you  rub 
off  the  surplus  ink  with  a piece  of  coarse  muslin,  and 
then  rub  it  with  tlie  palm  of  your  hand.  This  leaves 
the  ink  only  in  the  lines  of  the  etching.  Be  sure  and 


ETCHING. 


91 


get  the  margin  quite  clean.  Then,  sometimes,  if  you 
wish  to  produce  certain  effects,  after  the  drawing  is 
cleaned  thus,  take  a piece  of  coarse  muslin  and  brush 
all  oyer  it  hard.  This  spreads  the  ink  a little  on  the 
j)late,  and  gives  a soft  look.  Those  who  have  a j^i’ess 
can  perform  the  next  step  easily;  those  who  have  none, 
must  improvise  one.  A common  clothes-wringer  can  be 
used.  Take  two  pieces  of  Bristol  board  the  size  of  the 
sheet  of  paper  upon  which  your  etching  is  to  be  printed. 
Take  a common  clothes-wringer  (the  one  used  by  me 
was  an  “ Improved  Novelty  ”),  and  turn  the  screw  or 
button  until  you  have  brought  the  rubber  cylinders  as 
close  together  as  possible,  allowing  just  room  for  your 
package  containing  the  etching  to  pass  through.  You 
want  all  the  pressure  you  can  get.  Fasten  the  clothes- 
wringer  securely  in  jdace  or  you  cannot  steady  it.  They 
are  generally  made  to  go  on  the  side  of  a washtub,  and 
you  will  have  to  jdace  it  there,  but  that  is  no  incon- 
venience Lay  one  piece  of  Bristol  board  upon  tlie  table 
before  you,  lay  a piece  of  flannel  of  the  same  size  over 
it.  Moisten  the  sheet  of  paper  upon  which  the  etcliing 
is  to  be  printed  and  lay  that  face  upwards  upon  the  flan- 
nel. Take  your  plate  and  lay  it  face  downwards  upon 


92 


ETCHING. 


the  sheet  of  paper.  Over  this  lay  the  other  piece  of 
Bristol  hoard.  Fasten  all  three  securely  together  by 
passing  strings  around  the  Bristol  boards  from  side  to 
side  and  from  end  to  end,  close  together.  Now  take  this 
package  and  pass  it  endwise  between  the  rollers  of  the 
wringer.  You  will  now  need  assistance.  Get  some  one 
to  support  carefully  with  both  hands  the  package  as  it 
comes  through  the  rollers.  They  must  take  care  not  to 
let  it  pass  out  from  between  the  rollers;  but  when  you 
feel  sure  that  that  portion  wherein  the  plate  is  contained 
has  passed  through,  reverse  the  crank  and  pass  it  back 
again,  this  time  taking  it  out  from  between  the  rollers. 
The  clearness  of  your  proof  will  depend  somewhat  upon 
your  wringer,  and  one  example  will  show  you  whether,  in 
future,  it  is  best  to  pass  it  through  once,  twice,  or  more 
times. 

If  any  acid  should  get  upon  your  clothing  wash  it  out 
with  volatile  alkali. 

Benzine  is  preferable  to  turpentine  for  washing  the 
hands,  and  to  remove  ink  that  turpentine  fails  to  wash 
off. 


CDbQIlS 


We  would  advise  all  who  come  to  this  book  for  in- 
struction in  painting,  to  begin  with  water-colors,  as  it 
can  be  made  the  basis  for  instruction  in  all  other  branches, 
viz. : we  can  give  instructions  here  which,  if  faithfully 
practised,  will  teach  how  to  paint  in  water-colors.  This 
we  cannot  do  in  oil-painting,  but  if  the  pupil  will  learn 
how  to  use  water-colors,  we  can  show  him  how  to  adapt 
his  knowledge  to  oil-colors.  This  style  of  painting  may 
also  be  learned  by  those  who  do  not  draw,  as  well  as  by 
those  who  do,  the  only  difference  being  that  those  who 


93 


94 


PAINTING  IN  WATER  COLORS. 


cannot  draw  must  depend  upon  others  for  their  drawings 
or  outlines.  Further  on  we  will  explain  how  outline  de- 
sign may  be  j^rocured  already  drawn,  in  almost  endless 
variety.  The  materials  used,  and  which  it  will  be  desira- 
ble to  obtain,  are  as  follows:  — 

First,  Paper. — It  is  desirable  to  have  the  best  kind  of 
2)aper.  Such  papers  are  expensive ; but  they  are  undoubt- 
edly the  ones  on  which  the  best  results  can  be  obtained. 
They  are  made  for  the  purpose,  and  therefore  best  adapted 
to  serve  the  ends  for  which  they  are  manufactured. 

They  vary  from  fine,  close  jmper,  or  that  showing 
scarcely  any  roughnesses  or  holes  on  its  surface,  to  a very 
rough  i^aper,  almost  like  the  rind  of  an  orange.  These 
various  papers  are  suited  for  various  kinds  of  work.  The 
fine  is  best  for  decorative  painting  or  flowers ; the  medium 
papers  for  figures,  interiors  of  rooms,  etc. ; and  the 
coarser  kinds  for  out-of-door  sketching  of  all  kinds,  and 
landscaiDCS.  The  j^Rph  should,  as  much  as  it  is  possible, 
determine  what  he  wishes  to  paint  before  selecting  his 
j:)aper.  For  general  use  the  medium  jmpers  are  the  best, 
as  these  unite  some  of  the  advantages  of  both  the  others, 
and  can  be  very  well  used  in  any  of  the  above-named  in- 
stances. The  best  results,  with  the  least  trouble,  can  be 


PAINTING  IN  WATEK  COLORS. 


95 


had  on  these  papers ; but  the  pupil  should  accustom  him- 
self to  work  on  any  kind  of  paper  which  may  come  handy, 
and  not  narrow  his  ideas  to  the  use  of  one  paper  or  mate- 
rial, as  water-color  painting  can  be  done  not  only  on  paper, 
but  on  almost  every  material  from  wood  to  satin. 

The  paper  may  be  bought  in  sheets  or  in  blocks,  like 
the  drawing-paper.  Before  beginning  his  work,  the  pupil 
should  find  the  right  side  of  the  paper.  If  the  paper  be 
in  large  sheets,  a very  simple  way  is  to  hold  it  up  to  the 
light,  and  he  will  see  the  maker’s  name  in  transparent 
letters  in  the  paper.  The  right  side  is  the  one  from  which 
he  can  read  the  name  rightly.  If  it  is  a small  piece,  the 
pujiil  should  look  carefully  at  the  surface,  and  he  will  see 
a certain  finish  about  it  also. 

Preparing  Paper. — The  followino;  rule  for  stretchino* 
paper  should  be  familiar  to  every  pupil,  although  he  may 
not  be  called  upon  to  practise  it  just  at  present:  — 

The  paper,  if  in  the  sheet  form,  should  be  taken,  — a 
piece  cut,  allowing  about  an  inch  at  each  margin  larger 
than  tlie  size  for  the  picture.  Wet  the  paper  tlioroughly 
on  the  wrong  side  with  a clean,  soft  sponge  or  water-brush. 
Soak  the  paper  thoroughly,  but  do  not  press  the  sponge 
upon  it,  and  be  careful  not  in  any  way  to  rub  the  surface  of 


96 


PAINTING  IN  WATER  COLORS. 


the  paper.  With  a dry  cloth  wipe  a’^r'iid  the  margin  of 
the  paper,  still  on  the  wrong  side,  to  the  width  of  an  inch, 
and  on  half  of  this  width  spread  ihick  mucilage  or  mod- 
erately thin  flour-paste.  Turn  the  paper,  and  place  it  on 
the  drawing-board  right  side  up,  being  careful  not  to  touch 
the  paper  in  the  middle  more  than  is  necessary,  the  tips  of 
the  fingers  absorbing  the  moisture.  It  should  be  held  by 
the  edges.  Moisten  the  right  side  very  lightly  and  care- 
fully with  the  sponge;  then  wipe  around  the  edges  with  a 
dry  cloth,  pressing  it  down  hard  to  make  it  stick.  Leave 
it  in  a horizontal  position,  in  a warm  room,  to  dry.  Do 
not  put  it  near  the  fire.  When  dry,  it  will  be  smooth,  and 
will  have  shrunken  so  that  it  will  be  stretched  tight  and 
firm  from  tlie  glued  edges.  The  pupil  should  then  with  a 
soft  pencil  (F,  No.  3)  draw  the  outline  of  the  picture  he 
intends  to  paint  liglitly  and  correctly  on  the  paper,  taking 
care  to  make  no  more  marks  than  are  necessary,  as  rub- 
bing out  does  not  improve  the  paper.  What  rubbing  is 
done  should  be  done  with  soft  rubber.  The  lines  must  be 
drawn  correctly  before  applying  the  color,  as  the  first 
covering,  however  light,  over  them,  will  prevent  their 
being  rubbed  out.  When  the  picture  is  finished,  cut  with  a 
sharp  knife  just  inside  the  glued  margin,  and  remove  the 


PAINTING  IN  WATER  COLORS. 


97 


picture  Peel  or  scrape  off  roughly  what  is  left  on  the 
board. 

Brushes  — Brushes  are  made  of  sable  and  camel’s  hair. 
The  lower  grades  are  made  of  camel’s  hair  in  quills,  with- 
out handles,  and  cost  from  five  to  fifteen  cents  each. 
The  -higher  grades  are  of  black  and  red  sable,  in  metal, 
with  handles;  these  cost  from  one  dollar  to  ten  or  twelve 
dollars  each.  There  are  also  medium  grades.  In  regard 
to  the  size  of  a brush,  many  artists  use  but  one  or  two 
to  do  all  their  work.  The  larger  sizes  are  the  most 
useful,  and,  if  of  correct  shapes,  may  also  be  used  for 
delicate  work. 

For  children  and  ordinary  work  the  camel’s  hair  brush 
will  answer  very  well ; but  for  delicate  or  thoroughly  good 
work  the  sable  brushes  are  far  better,  being  so  well  and 
carefully  made  that  the  largest  size  can  be  drawn  to  a 
point  fine  enough  to  make  a hair-line.  They  last  for  a very 
long  time.  After  the  brush  is  selected,  the  colors  are  to  be 
thought  of.  For  a beginner,  all  the  colors  that  are  needed 
will  be  found  in  “ Tilton’s  Decorative  Art  Color-Box,”  No.  1. 

We  wish  to  call  particular  attention  to  this  Box  of 
Colors.  They  are  not  Toy  Colors,  but  are  manufactured 
expressly  for  us  in  London,  for  the  use  of  Art  Students  and 


98 


PAINTING  IN  WATER  COLORS. 


beginners  in  Water-Color  Painting.  The  following  are 
samples  of  a large  number  of  testimonials  which  we  have 


received  from  those  who  have  used  our  colors,  and  will 
convey,  perhaps,  a more  satishictory  idea  of  their  value 
than  any  words  of  ours : — 

Messrs.  S.  W.  Tilton  & Co.  Gentlemen  • I take  great  pleasure  in 
recommending  your  Decorative  Art-Color  Box.  I have  used  it  in 
the  Newton  High  School,  and  find  that  it  answers  every  requirement. 
The  Colors  are  clear  and  brilliant,  and  work  well,  while  its  low  price 
places  it  within  the  reach  of  all.  I consider  it  the  best  of  the  kind  in 
the  market.  Very  respectfully,  E.  F.  BOWLER, 

Teacher  of  Drawing,  Newton  and  Salem  Normal  School. 

Messrs.  S.  W.  Tilton  & Co.  Dear  Sirs  ; As  far  as  I have  used  them 
1 like  them  better  than  the  Art  School  Color-Box  Avhich  the  pupils  have 
been  using.  The  colors  being  in  pans  is  an  advantage  ; also  the  fact 
that  the  colors  can  be  obtained  separately  at  a moderate  price.  I have 
recommended  the  Decorative  Art  Color-Box  to  be  used  next  year. 

Very  respectfully  yours,  JULIA  A.  STETSON, 
Girls’  High  School,  Boston. 


PAINTING  IN  WATER  COLORS. 


99 


Each  Box,  which  is  made  of  Japanned  Tin,  has  the 
name  of  S.  W.  Tilton  & Co.,  Boston,  stamped  on  the 
lid,  and  contains  three  brushes,  and  ten  pans  of  moist 
Water-Colors,  arranged  in  the  following  order:  Indigo, 

Vermilion,  Cohalt,  Gamboge,  Prussian  Blue,  Crimson  Lake, 
Vandyke  Broicn,  Yellow  Ochre,  Sepia,  Light  Bed.  Price, 
fifty  cents.  All  the  colors  have  their  names  attached. 

Each  box  contains  directions  for  mixing,  so  as  to  make 
any  color  called  for  in  painting  the  Outlines  which  we 
publish,  but  for  the  convenience  of  those  who  may  wish  for 
other  tints  without  the  trouble  of  mixing,  we  can  supply 
the  following  colors,  separately,  at  Six  Cents  each : — 


Black. 

Brown  Madder. 
Brown  Pink. 
Burnt  Sienna. 
Burnt  Umber. 
Carnation. 
Chinese  White. 
Chrome  (Deep). 
Chrome  (Pale). 
Cobalt. 

Crimson  Lake. 
Emerald  Green. 
Flesh. 

Gamboge. 

Green  Bice. 
Hooker’s  Green. 
Indian  Red. 


Indian  Yellow. 
Indigo. 

Light  Red. 
Naples  Yellow. 
Neutral  Tint. 
Olive. 

Orange. 
Payne’s  Grey. 
Prussian  Blue. 
Purple  Lake. 
Raw  Sienna. 
Raw  Umber. 
Red  Lead. 
Roman  Oclire. 
Royal  Blue. 
Scarlet  Lake. 
Sepia. 

Ultramarine. 


Vandyke  Brown. 
Venetian  Red. 
Vermilion. 
Yellow  Ochre. 


EXTRA  COLORS. 

AT  TEN  CENTS  EACH. 
Aureolin. 
Cadmium. 

Carmine. 

Bt.  Carmine. 

Gold. 

Lemon  Yellow. 
Mauve. 

Rose  Madder. 
Silver. 


100 


PAINTING  IN  WATER  COLORS. 


These  colors  may  be  found  at  all  of  the  leading  Art 
Stores;  hut  if  not,  write  direct  to  the  publishers  of  this 
book,  who  will  send  them  by  mail,  post-paid,  on  receipt 
of  the  prices  mentioned  above ; and  do  not  take  what  are 
said  to  be  just  as  good.  These  have  been  tested,  and  we 
know  them  to  be  all  we  claim  for  them,  and  it  is  important 
that  only  good  and  approved  colors  be  used.  The  pub- 
lishers also  have  other  boxes  and  colors,  and  will  send 
lists  on  application. 


China  Slants. 


Two  tumblers  of  water  will  be  needed  — one  kept  clean 
for  wetting  the  brushes  before  taking  the  colors  from  the 
cakes;  the  other  to  wash  the  color  out  of  the  brushes. 
The  pupil  should  have  plenty  of  old  linen  rags  to  wipe  the 
brushes  on.  To  take  the  color  from  the  pan,  the  brush 
should  be  dipped  deeply  into  the  tumbler  until  it  is  thor- 
oughly full  of  water,  then  withdrawn,  and  wiped  or  drawn 


PAINTING  IN  WATER  COLORS. 


101 


across  a piece  of  linen,  to  remove  all  the  water  that  drips 
from  it.  Then  draw  it  lightly  across  the  cake,  taking  care 
not  to  dig  into  it,  and  endeavor  to  fill  the  brush  as  full  as 
possible  with  color.  This  color  you  convey  to  one  of  the 
partitions  of  a China  slant,  such  as  is  represented  on  page 
100,  into  which  you  have  previously  deposited  two  or  three 
drops  of  clear  water.  Work  the  color  out  of  your  brush 
into  the  water.  This  may  be  repeated  until  you  have 
enough  color;  then  add  water  till  you  get  a satisfactory 
shade. 

The  lid  or  palette  of  the  color-box  or  small  saucers 
can  be  used,  but  the  slants  will  be  found  more  convenient, 
besides  preserving  any  colors  which  may  be  left. 

Some  of  these  partitions  should  be  kept  for  single  colors, 
the  others  used  for  mixing  them  together. 

Where  a large  wash  is  to  be  made,  that  is,  any  consid- 
erable quantity  of  color  to  be  prepared  for  covering  a 
large  surface,  something  which  will  contain  more  than  the 
slant  will  be  required. 

Mention  has  been  made  of  a drawing-board;  this,  or  a 
similar  board,  will  be  required  to  paint  on.  It  can  be 
bought  ready-made,  or  one  may  very  easily  be  constructed. 
Sixteen  by  twenty-two  inches  is  a very  good  size  for  gen- 


102 


PAINTING  IN  WATER  COLORS. 


eral  use.  It  should  be  made  of  clear,  soft  pine,  about  an 
inch  in  thickness,  and  with  cleats  on  the  ends,  to  prevent 
warping. 

When  used  for  painting,  the  upper  side  should  be  raised 
three  or  four  inches,  so  that  it  will  slope  like  a desk 
towards  you;  this  may  be  done  by  placing  books  under 
each  upper  corner. 

When  the  design  to  be  painted  is  on  a single  or  detached 
piece  of  paper,  it  should  be  pinned  by  the  four  corners  to 
the  board,  to  keep  it  in  jdace.  Drawing-pins  come  for 
this  purpose ; they  are  quite  short,  with  large,  flat  heads. 

We  have  described  in  detail  the  articles  used  in  painting 
on  paper  with  water-colors,  which,  in  short,  consist  of 
paper,  colors,  brushes,  slant  or  tinting-saucers,  drawing- 
board,  pins,  old  linen  rags,  two  tumblers  of  water,  blot- 
ting-paper. Teachers  frequently  call  upon  a pupil  to  pro- 
cure as  an  outfit  what  will  cost  from  five  to  fifteen  dollars, 
exclusive  of  the  cost  of  instruction.  This  tends  to  dis- 
courage those  of  limited  means,  and  who  do  not  wish  to 
invest  so  much  money  until  they  are  confident  of  their 
ability  to  profit  by  it.  While  we  are  willing  to  admit  that 
the  best  results  may  be  obtained  from  the  best  materials 
it  is  equally  true  that,  while  one  is  learning,  a less  expen- 


PAINTING  IN  WATER  COLORS. 


103 


sive  outfit  will  answer  every  purpose.  One  dollar  will  buy 
all  that  one  really  needs,  to  begin  with,  viz.  : — 


Tilton’s  Decorative  Art  Color-Box  No.  1 50  cents. 

A block  of  log-paper 25  cents. 

Camel’s-liair  brush,  No.  7 25  cents. 


These  articles  will  be  sent  to  any  address,  on  receipt  of 
price,  by  the  publishers  of  this  book;  the  other  articles 
needed  can  be  improvised.  It  will  not  require  great 
ingenuity  to  provide  substitutes  for  the  other  things 
called  for. 

The  first  thing  to  learn  is  to  put  on  the  colors  smoothly 
and  evenly,  — this  is  whnt  is  called  a flat  wash,  and  it  is  of 
the  greatest  importance  that  it  should  be  practised  and 
learned  thoroughly  at  the  outset. 

The  pupil  should  not  be  discouraged  if  he  does  not  suc- 
ceed in  his  first  attempts,  but  continue  practising  until  he 
does  succeed.  The  time  required  to  learn  this  cannot  be 
estimated,  as  some  learn  it  very  quickly,  while  others  have 
to  devote  more  time  to  it;  but  it  not  only  can  he  learned^ 
but  it  MUST  he  learned,  before  the  j^upil  can  hope  to  suc- 
ceed with  what  comes  after. 

Now,  if  you  have  procured  the  necessary  materials, 
proceed  as  follows ; Draw  on  the  paper  which  you  have 


104 


PAINTING  IN  WATER  COLORS. 


selected  an  oblong,  square-sided  figure,  say,  four  by  six 
inches;  pin  it  by  the  four  corners  to  the  drawing-board; 
next  get  the  drawing-board  into  position  by  raising  the  two 
upper  corners  three  or  four  inches  from  the  table,  — books 
placed  under  it  will  answer;  this  will  cause  the  board  to 
slope  toward  you  like  a desk;  now  prepare  the  wash. 
The  color  is  not  to  be  used  directly  from  the  cake  or  pan. 
Remove,  as  previously  directed,  a small  quantity  to  the 
slant,  or  whatever  you  propose  to  mix  the  color  in,  add 
water  until  you  obtain  a satisfiictory  shade.  Sepia  is  the 
best  color  to  begin  with ; be  sure  and  mix  enough  of  the 
color  to  do  the  work  you  have  laid  out.  Now  you  are 
ready  to  begin.  First  go  over  the  figure  which  you  have 
drawn  with  your  brush  (No.  7)  filled  with  pure  water; 
be  careful  to  go  close  up  to  the  lines,  but  not  over  them. 
Log  paper  will  not  require  as  much  water  as  Whatman, 
as  the  latter  will  absorb  more.  Allow  it  to  remain  one  or 
two  minutes,  then  apply  linen  or  a blotter,  to  take  up  what 
water  remains  on  the  surfiice.  Now,  with  the  brush  well 
filled  with  the  color  or  wash,  begin  in  the  upper  left-hand 
corner;  sweep  with  the  side,  not  the  point  of  the  brush, 
to  the  right,  pressing  the  brush  slightly  as  you  proceed,  so 
as  to  force  out  the  color;  the  board  being  sloped,  the 


PAINTING  IN  WATER  COLORS. 


105 


color  will  naturally  flow  downwards,  leaving  a little  pool 
of  color  in  front  of  the  brush  and  along  the  lower  edge  of 
the  space  you  have  just  covered;  now,  with  the  point  of 
your  brush,  fill  in  the  right  upper  corner ; go  close  to  the 
lines,  but  be  careful  and  not  go  over  them ; then  draw  your 
brush  down,  close  up  to  the  line,  far  enough  so  that  when 
you  sweep  back  to  the  left,  the  upper  edge  of  the  space 
you  are  covering  will  just  connect  with  the  pool  left  the 
first  time,  leading  it  along  downwards ; the  paper  having 
been  wet,  the  color  will  readily  flow  over  it,  so  that  you 
only  have  to  direct  it,  as  it  were,  and  in  this  way  proceed 
back  and  forth  until  you  reach  the  bottom  of  the  square, 
when  you  will  have  this  pool  of  color  which  you  have  been 
leading  along  down  to  remove.  To  do  this,  wipe  your 
brush  nearly  dry,  then,  by  applying  it  to  the  color,  it  will 
absorb  all  that  is  not  required;  if  there  is  any  considerable 
quantity  to  remove,  the  brush  may  have  to  be  wiped  and 
applied  several  times. 

In  a book  of  this  description  it  will  be  impossible  to  enter 
so  fully  into  the  details  of  all  of  the  different  branches  of 
instruction  as  we  have  done  in  the  flat  wash.  A thorough 
knowledge  of  that  subject  will  be  of  great  benefit  to  the 
art  student  in  all  future  study  in  painting  in  colors. 


106 


PAINTING  IN  WATER  COLORS. 


After  one  has  learned  the  principle  and  method  of  applying 
colors  in  one  style  of  painting  he  will  the  more  easily 
acquire  it  in  any  or  all  others.  We  have  selected  Water- 
Color  painting  to  begin  with  because  we  think  it  will  be 
the  best  foundation  to  build  upon.  It  will  also  be  less 
difficult  to  understand  the  directions  for  and  the  least 
expensive  to  experiment  in.  It  is  not  difficult  to  learn 
how  to  wash  colors  on  smoothly  and  evenly,  but  it  will 
require  practice.  We  do  no  not  mean  a few  hours  or  da}’s, 
but  weeks  and  months.  Begin  with  a light  shade  of  color; 
which  will  be  the  easiest  to  put  on  smoothly.  After  a little 
practice  begin  to  deepen  the  color,  continuing  until  you 
can  lay  on  an  even  tint  of  color,  from  the  lightest  to  the 
deepest  shade.  The  deeper  the  color,  the  more  difficult  it 
will  be  to  lay  it  on  smoothly.  The  instructions  which  we 
liave  given  on  this  subject  have  been  condensed  from 
“ Introductory  Lessons  in  Drawing  and  Painting  in  Water- 
Colors,  by  Marion  Kemble”  (Self-Instructive),^  to  which 
the  reader  is  referred  for  more  extended  information  on 
the  same  subject. 

After  the  jxipil  has  learned  thoroughly  the  principle  of 

* This  little  book  will  be  mailed  to  any  address  on  receipt  of  price, 
fifty  cents,  by  S.  W.  Tilton  & Co.,  Publishers,  Boston. 


PAINTING  IN  WATER  COLORS. 


107 


tho  flat,  wash  and  the  graded  wash,  which  is  taught  in  the 
book  which  we  have  referred  to,  he  will  have  learned  all 
of  the  mechanical  part  of  Water-Color  painting.  As  we 
have  before  stated,  this  will  require  diligent  and  intelligent 
practice.  Our  advice  will  be  to  practice  precisely  as  above 
directed  until  you  feel  tolerably  well  acquainted  with  the 
use  of  the  brush  and  colors,  when  you  may  procure  some 
of  the  outlines  prepared  by  the  publishers  of  this  volume 
expressly  for  water-color  practice.  They  may  be  had  in 
books,  on  cards,  and  on  thick,  heavy  panels.  The  books 
are  the  simplest  and  least  expensive.  Each  contains 
eighteen  outline  pictures,  with  special  directions  for  paint- 
ing; that  is,  what  colors  to  use,  and  how  to  mix  them  so 
as  to  produce  any  tint  required.  The  cost  is  fifty  cents  per 
book,  making  the  outlines  cost  less  than  three  cents  each. 
These  designs  being  larger  than  the  pages  of  this 
book,  we  are  unable  to  give  specimen  illustrations. 
The  idea  of  making  them  in  this  form  is  to  afford  inex- 
pensive practice  for  beginners  in  water-color  painting. 
The  designs  are  so  drawn  as  to  enable  those  who  paint 
them  to  color  them  in  flat  washes,  or,  when  more  ad- 
vanced, to  work  them  up  into  something  more  elaborate. 
After  the  pupil  has  practised  upon  these  books  for  a while 


^ C*})r^5^ma5^_ 

'' 'Tale 


GIRL  AND  BOY  READING.  (From  Series  XIX.,  Tilton’s  Out- 
line Designs  on  Cards.)  This  series  consists  of  six  figure-designs,  which 
may  he  had  on  bevelled  gilt-edge  cards.  Price,  Fifty  Cents  for  the  series 
of  six  cards,  including  directions  for  painting.  The  directions  for  paint- 
ing this  picture  may  be  found  on  page  115. 


lOS 


PAINTING  IN  WATER  COLORS. 


109 


he  will  be  able  to  paint  the  more  elaborate  designs  which 
may  be  had  on  the  Design  Cards.  Here  the  designs  are 
drawn  on  thick  cards,  with  gilt  bevelled  edges.  Each 
series  or  set  consists  of  six  cards,  with  directions  for  paint- 
ing. They  may  be  used  for  Christmas  and  New  Year’s 
Cards;  also  for  Valentines,  Easter  Cards,  Birthday  Cards, 
etc.,  etc.  They  may  also  be  made  into  sachets  or  scent- 
bags,  which  may  be  made  as  follows : Enclose  the  scent 
in  a flat,  square  bag  of  colored  silk  the  size  of  the  cards, 
then  lay  a card,  face  outward,  on  each  side  of  the  bag,  first 
dabbing  a little  mucilage  on  tlie  centre  of  the  bag  to  hold 
the  cards  in  place.  Tie  the  four  corners  of  the  two  cards 
together  with  bows  of  ribbon  to  match  the  silk  bag. 
These,  when  colored,  have  become  quite  popular.  They 
may  also  be  made  into  many  other  decorative  forms.  We 
have  been  able  to  select  a few  of  the  designs  on  cards 
small  enough  to  show  in  these  pages  as  specimens  of 
the  style.  We  also  give  the  directions  for  painting  them, 
which  will  show  the  reader  how  simple  and  interesting 
this  method  of  teaching  water-color  painting  is. 

After  the  Design  Cards  we  suggest  the  Panels.  These, 
of  course,  are  much  handsomer.  The  designs  are  very 
beautiful  flowers,  figures,  etc.  The  panels  vary  in  size 


PANEL.  GIRL  DANCING.  (From  Series  XVII.,  Tilton’s  Out- 
line Designs  on  Cards.)  This  series  consists  of  six  figure-designs,  which 
may  be  had  on  bevelled  gilt-edge  cards.  Price,  Fifty  Cents  for  the  series 
of  six  Cards,  including  directions  for  painting.  The  directions  for  paint- 
ing this  picture  will  be  found  on  page  115. 


110 


PAINTING  IN  WATER  COLORS. 


Ill 


from  4 by  6 inches  to  7^  by  15.  They  are  made  of  What- 
man paper,  which  is  made  for  water-color  painting, 
mounted  on  heavy  panels,  with  gilt,  bevelled  edges,  and 
are  suitable  for  presents.  Each  panel  is  enclosed  in  an 
envelope,  with  full  directions  how  to  color  it.  As  we  are 
constantly  making  new  designs,  the  reader  is  advised  to 
send  to  the  publishers*  for  their  latest  list. 

In  presenting  these  specim  n designs  to  our  readers,  we 
wish  to  say  that  for  one  to  select  a half-dozen  subjects  from 
a collection  of  several  hundred  which  should  fairly  repre- 
sent the  whole  number,  would  be  a difficult  task  under  the 
most  favorable  conditions.  Here,  the  size  of  our  page  is  so 
small  that  we  have  been  unable  to  include  the  best  subjects. 
Then,  too,  the  reader  must  remember  that  these  designs 
when  furnished  on  thick,  heavy,  gilt-edge  cards,  and 
printed  in  soft  pencil  lines,  have  an  entirely  different  ap- 
pearance than  they  do  as  liere  shown;  really,  they  will 
convey  a better  idea  of  the  series  of  Outlines  in  Books, 
as  one  will  only  have  to  imagine  larger  designs  and 
broader  margins,  and  he  will  htive  a tolerably  fair  idea 
of  the  books.  With  this  explanation  we  will  proceed  by 
saying  that  these  outlines  consist  of  Figures,  Flowers,  and 
* S.  W.  Tilton  & Co.,  Boston,  Mass. 


PANEL.  GIRL  AND  POPPIES.  (From  Series  XL,  Tilton’s 
Outline  Designs  on  Cards.)  This  series  consists  of  figure- designs,  which 
may  he  had  on  bevelled  gilt-edge  ca-ds.  Price,  Fifty  Cents  for  the  series 
of  six  cards,  including  the  directions  for  painting.  The  directions  for 
painting  this  picture  will  be  found  on  page  117. 

112 


PAINTING  IN  WATEK  COLORS. 


113 


Landscapes.  The  figures  are  the  more  simple,  and  one  can, 
after  a little  practice  in  the  flat  wash,  make  quite  effective 
little  pictures  of  them.  Flowers  will  require  more  skill, 
which  will  come  with  longer  practice,  as  there  are  delicate 
lights  and  shadows  to  be  painted  in  which  can  only  be 
learned  after  considerable  practice  with  the  brush.  Land- 
scapes are  still  more  difficult,  and  will  require  not  only 
a thorough  knowledge  of,  and  practice  in,  the  flat  and  graded 
washes,  but  the  pu^Jl  must  know  something  of  the  colors  he 
is  to  work  with ; viz.,  in  a landscape  there  will  be  foliage, 
rocks,  plains,  foreground,  distance,  middle  distance,  water, 
etc.,  etc.,  and  there  are  certain  colors  which  will  represent 
each  of  these  effects  better  than  others.  This  the  pupil 
must  learn.  “ Artists’  Colors  and  How  to  Mix  them  so  as 
to  Produce  the  Best  Effects  ” * teaches  all  this  as  far  as  it  can 
be  taught  without  practice.  Besides  giving  information  how, 
by  a judicious  selection,  a few  colors  may  be  so  mixed  as  to 
produce  all  of  the  colors  in  general  use,  it  has  tables  for 
skies  for  fair  and  cloudy  weather,  water,  rocks,  foregrounds, 
distance,  middle  distances,  etc.,  etc. — a very  valuable 
manual  for  all  art  students.  We  hope  the  reader  has  given 
strict  attention  to  our  instructions,  and  fully  understands 


* Published  by  S.  W.  Tilton  & Co.,  Boston 


JONQUIL.  (From  Series  IX.,  Tilton’s  Outline  Designs  on  Cards.) 
This  series  consists  of  six  tlower-designs,  which  may  he  had  on  bevelled 
gilt-edge  cards,  or  on  Whatman’s  prepared  water-color  paper.  Price  for 
either,  Fifty  Cents  for  the  series  of  six  cards,  including  directions  for  paint- 
ing. The  directions  for  painting  this  picture  will  be  found  on  page  117. 

114 


PAINTING  IN  WATER  COLORS. 


115 


that  practice  will  be  his  teacher.  As  long  as  he  faithfully 
practices  he  will  continue  to  improve.  Art  is  a study  which, 
no  matter  how  much  time  one  devotes  to  it,  there  will  still 
be  something  to  learn.  As  we  have  before  stated,  all  of  the 
outlines  issued  by  the  publishers  of  this  book  have  special 
directions  for  painting,  and  that  the  reader  may  see  how 
carefully  the  lessons  have  been  prepared,  we  will  give 
directions  here  for  painting  the  specimen  outlines  already 
shown.  By  simply  following  directions  very  effective  little 
pictures  will  be  the  result.  Of  course  the  success  will 
depend  upon  the  amount  of  practice  previously  given. 
The  circular  of  instructions  which  accompanies  “ Tilton’s 
Decorative  Art  Color-Box”  shows  how  all  of  the  colors 
called  for  may  be  produced  from  the  ten  contained  in 
the  box. 


Girl  and  Boy  Reading  (from  Series  XIX.,  Tilton’s  Outline  Design 
Cards).  — Girl:  Hair,  light  yellow;  waist,  pale  olive-green;  skirt,  left 
white,  pale  blue  flowers,  light  olive-green  leaves ; ribbon  in  hair,  pale 
blue ; book  left  white,  shaded  with  yellow-grays  ; edges  of  leaves  and 
cover,  dull  light-red  ; skin,  fair  ; cheeks,  lips,  and  fingers,  rosy. 

Boy  : Cap,  dull  light  yellow  ; hair,  reddish-brown  ; suit,  dull  red  ; vest 
tan-color,  with  blue  figures  on  it ; shoes,  light  tan  ; skin,  brownish ; 
cheek,  lips,  and  fingers,  rosy.  Light,  yellow-gray  wash  behind  boy,  and 
up  to  back  of  seat ; seat,  light-reddish,  brown  shaded  ; floor,  light,  bluish* 
gray  wash. 

Girl  Dancing  (from  Series  XVII.,  Tilton’s  Outline  Design  Cards). — 
Cap,  pale  blue  ; dress  left  white,  shaded  with  yellow-grays  ; sash,  rose- 
color  ; scarf,  pale  olive-green  ; hair,  reddish-brown  ; skin,  fair  ; cheeks, 


SWEET  VIOLET.  (From  Series  V.,  Tilton’s  Outline  Designs  on 
Cards.)  This  series  consists  of  six  flower-designs,  which  may  he  had  on 
bevelled  gilt-edge  cards,  or  on  Whatman’s  paper,  prepared  for  water- 
color  painting.  Price  for  either,  Fifty  Cents  for  the  series  of  six  cards, 
including  directions  for  painting.  The  directions  for  painting  this  picture 
will  be  found  on  page  117. 


116 


PAINTING  IN  WATEK  COLORS. 


117 


lips,  hands,  fingers,  toes,  rosy;  grass,  olive  greens;  fiower,  red;  wash 
extending  as  high  as  upper  end  of  scarf,  pale  blue;  letters,  red;  back- 
ground behind  corner  of  panel,  light  bluish-gray  wash;  streaks  for  rain, 
darker  gray;  branch  of  tree,  brown;  birds,  yellow-brown. 

Girl  and  Poppies  (from  Series  XI,  Tilton’s  Outline  Design  Cards).— 
Girl:  Feathers  left  white,  pale  peacock-blue  and  green  tips.  Bow,  yellow. 
Hat,  brim  very  dark  red.  Hair,  pale  dull  yellow.  Waist,  dark  olive- 
green.  Flowers  round  skirt,  dull  red.  Green  leaves  and  scroll,  lines  dull 
red.  Skirt,  light  olive.  Underskirt,  dull  yellow.  Scrolls  on  underskirt, 
dull  red.  Boot,  dark  peacock  blue.  Snow  left  white,  with  blue  and  gray 
streaks.  Putfs  and  ruffles  left  white.  Poppies,  scarlet.  Further  leaves 
shaded  to  dark  red.  Front  leaves  shaded  with  dark  wash  near  bottom  of 
leaf,  to  give  roundness.  Leaves,  stems,  and  bud,  dull  green.  Centre  of 
poppy,  black.  Tip  of  bud,  dark  brown. 

Jonquil  (from  Series  IV,  Tilton’s  Outline  Design  Cards).  — Flowers  : 
Yellow,  light  tint  (gamboge);  same,  darker  in  the  shadows,  adding  a little 
cobalt  in  the  darkest  places.  Calyx,  green  (gamboge  and  little  Prussian 
blue).  Involucre  at  Base  of  Flower:  Light  brown  (Vandyke,  thin) 
Leaves  and  Stems  : Green  (gamboge,  Prussian  blue,  and  a little  crim- 
son lake).  Light  strongest  on  upper  part  of  leaves  and  flowers.  Leaves, 
dark  at  the  base,  a strong  shadow  under  each  twist  of  the  long  leaf. 
Panel  : Pale  blue  (cobalt).  Border,  reddish  brown  (crimson  lake  and 
Vandyke  brown,  thin  wash). 

Sweet  Violet  (from  Series  V,  Tilton’s  Outline  Design  Cards).— Flow- 
ers : Pale  purple  (Prussian  blue,  crimson  lake),  shaded  with  darker 
purple.  Stamens,  light  green  and  yellow.  Leaves  : Upper  side  light 
green  (gamboge,  Prussian  blue),  veined  and  shaded  with  the  same  darker. 
Under  side,  use  the  same  colors  very  thin  and  add  a little  crimson  lake. 
Calyxes  : Light  green.  The  light  falls  from  the  right,  casting  the  shadows 
toward  the  left. 

Geranium  (from  Series  VI, Tilton’s  Outline  Design  Cards).— Flowers: 
Very  pale  pink  (thin  crimson  lake),  veined  with  darker  shade;  paint  the 
shadows  on  the  under  sides  with  bluish-gray  (cobalt,  gamboge,  crimson 
lake),  centres,  orange-yellow.  Buds  : Tips  pink.  Calyxes  and  Stems  ; 
Light  green  (gamboge,  Prussian  blue).  Leaves  : Bright  green  (gamboge, 
Prussian  blue,  crimson  lake),  having  at  a little  distance  from  the  edge 
a horseshoe-shaped  band  of  lighter  green  (gamboge  and  cobalt);  this 
band  has  occasional  touches  of  reddish  brown  (crimson  lake  and  Van- 
dyke brown)  on  either  edge.  Darkest  shadow  in  centre  of  lower  leaf. 

Old  Fence  with  Vines  (from  Series  XXIII,  Tilton’s  Outline  Design 
Cards).— Sky:  Upper  cloud  dark  bluish-gray  (cobalt  and  light  red).  Leave 


GERANIUM.  (From  Series  VI.,  Tilton’s  Outline  Designs  on  Cards.) 
This  series  consists  of  six  flower-designs,  which  may  be  had  on  bevelled 
gilt-edge  cards,  or  on  Whatman’s  paper  prepared  for  water-color  paint- 
ing. Price  for  either  style,  Fifty  Cents  for  the  series  of  six  cards,  in- 
cluding directions  for  painting.  The  directions  for  painting  this  picture 
will  be  found  on  page  117. 


118 


PAINTING  IN  WATER  COLORS. 


119 


wliite  edge  of  the  lower  edge  of  the  upper  cloud  and  those  at  the  right  of  the 
card.  Lay  a faint  wash  of  cobalt  over  the  left-hand  part  of  the  sky  do\^n 
to  the  hill.  Here  wash  the  blue  out  of  the  brush  and  lay  a flat  wash  of 
yellow  ochre  over  the  rest  of  the  picture.  Let  this  dry.  Distant  Hill; 
Lay  a very  thin  wash  of  green  (gamboge  and  cobalt)  over  the  left-hand 
hill,  taking  care  not  to  cover  the  path.  Lay  a stronger  wash  of  green 
(Prussian  blue  and  gamboge)  on  the  right-hand  hill  and  the  grass  in  the 
foreground.  “ Touch  in”  sepia  in  one  or  two  places,  particularly  in  the 
foreground.  Vine:  Dark  red  (crimson  lake  and  a little  Vandyke  brown). 
Lay  a flat  wash  over  the  vine,  and  when  dry  put  in  the  shadows  with  a 
stronger  tint  of  the  same.  Fence;  Brownish  (sepia  and  a little  indigo). 
Lay  a wash  over  the  posts  and  rails.  Shadows,  dark  brown  (sepia). 
Wall:  Gray  (indigo  and  sepia).  Use  a thin  wash  for  the  light  side,  the 
same  stronger  for  the  shades,  and  a very  dark  tone  for  the  shadows. 
Finish  by  indicating  a few  stones,  shadows  in  the  grass,  etc.,  with  sepia. 


The  following  chapter  cn  “ Painting  Photographs  in 
Water-colors  ” was  prepared  by  a specialist,  that  is,  one 
who  has  made  the  subject  a special  study;  but  inasmuch  as 
it  was  prepared  several  years  ago  for  a former  edition  of 
the  same  book,  it  was  a question  for  a time  with  the  editor 
whether  or  not  to  admit  it  in  this  edition;  it  contains,  how- 
ever, so  much  information  which  can  be  made  useful  in 
connection  with  painting  the  outline  designs  described  in 
the  preceding  chapter  that  we  have  decided  to  allow  it  to 
remain ; one  serious  objection  being  that  the  list  of  colors 
demanded  is  somewhat  different  from  what  we  have  given, 
and  might  confuse  the  pupil,  but  if  the  reader  has  carefully 
studied  our  previous  directions  in  this  book  and  as  given  in 
“Artists’  Colors,  and  How  to  Use  Them,”  the  little  hand- 


LANDSCAPE.  OLD  FENCE  WITH  VINES.  (From  Series 
XXIII,  Tilton’s  Outline  Designs  on  Cards.)  This  series  consists  of  six 
simple  landscapes,  which  may  be  had  only  on  Whatman’s  prepared  paper 
for  water  colors.  Price,  Fifty  Cents  for  the  series  of  six  cards,  including 
directions  for  painting.  The  directions  for  painting  this  picture  will  be 
found  on  page  117. 


120 


PAINTING  IN  WATER  COLORS. 


121 


book  which  we  have  before  mentioned,  he  will  have  learned 
how  to  make  eqnivjilents  for  all  the  colors  this  chapter  will 
call  for  from  “Tilton’s  Decorative  Art-Color  Box,” and  per- 
haps a few  additional  colors.  It  will  also  illustrate  the 
economy  of  procuring  the  book  on  mixing  colors,  which  will 
save  its  cost  many  times  over  in  teaching  how  to  make 
equivalents  for  colors  which  would  otherwise  have  to  be 
bought. 

The  reader  will  of  course  understand  the  difference 
between  an  outline  and  a finished  design.  We  have  rec- 
ommended the  pupil  to  begin  with  outlines,  that  is,  unfin- 
ished pictures : by  following  the  directions  which  accom- 
pany them  one  will  obtain  quite  effective  results  after 
but  comparatively  little  practice  in  the  manner  before 
suggested,  viz.,  the  fiat  and  graded  washes,  while  those  with 
more  skill  and  longer  practice  can  finish  them  into  elaborate 
pictures 


In  this  chapter  we  will  have  to  deal  with  pictures  fin- 
ished in  form  hut  not  in  color;  that  is,  not  only  the  outline, 
but  all  that  contributes  to  give  it  form  and  shape,  light  and 
shade,  foreground  and  distance,  etc. 

* Many  of  the  principles  and  suggestions  in  this  chapter  apply 
equally  -well  to  painting  in  general. 


122 


PHOTOGRAPH  PAINTING  IN  WATER  COLORS.  123 


A photograph  is  a fac-simile  of  a subject  just  as  it  ap- 
pears to  the  eye  in  form  and  shape,  but  not  in  color,  viz: 
if  you  make  a photograph  of  a landscape,  it  will  show 
the  form  and  shape,  relative  distances  cf  different  ob- 
jects, with  their  lights  and  shadows  ail  represented  by 
gradations  of  one  color. 

A rock,  a flower,  and  a distant  hill,  all  appear  in  the 
same  color,  and  the  object  in  painting  it  is  to  give 
each  subject  in  its  proper  color. 

Flat  washes  of  thin,  transparent  colors  will  be  quite 
efiective,  as  the  lights  and  shadows  will  be  preserved  in 
the  same  relation,  but  the  following  directions  will  give 
more  satisfactory  results. 

Use  a light  photograph  for  coloring,  in  preference  to  a 
very  dark  one,  and  let  the  general  hue  be  gray,  inclining 
to  black  in  the  shadows. 

See  that  it  be  well  defined,  that  the  shadows  and  middle 
tints  are  clear,  and  that  the  background  is  free  from  blem- 
ishes and  black  and  white  spots. 

The  heavy  dark  tints  which  prevail  in  some  photographs 
are  badly  adapted  for  fair  complexions,  as  considerable  diffi- 
culty is  experienced  in  working  gray  tints  over  them ; indeed, 
the  only  way  left  for  the  artist  is  to  lighten  them  up  with 


124  PHOTOGRAPH  PAINTING  IN  WATER  COLORS. 

a little  body  color,  than  which  nothing  can  be  more 
objectionable,  because  all  gray  and  pearly  tints  ought  to 
be  purely  transparent,  so  that  the  flesh  color  may  be 
seen  under  them.  When  the  complexion  is  dark,  the 
difficulty  is  considerably  lessened  ; for,  upon  the  applica- 
tion of  the  warm  colors,  these  heavy  photographic  tones 
decrease  in  depth,  and  assume  a color  which  is  not  badly 
adapted  for  flnishing  the  pearly  tints  upon.  Ladies’  and 
children’s  portraits  should  always  be  lighter  in  the 
shadows  than  the  masculine  head,  for  the  purpose  of 
giving  that  softness  which  is  their  characteristic  ; painters 
usually  throw  more  light  upon  them  than  they  do  upon 
the  male  head,  which  is  better  suited  to  a depth  of  shadow. 
Heads  of  aged  persons,  of  both  sexes,  should  likewise  be 
placed  in  a full  light,  as  it  tends  to  soften  and  subdue  the 
prominent  markings  of  age. 

Always  have  a duplicate  copy  before  you  while  at 
work,  to  refer  to  and  assist  in  keeping  the  resemblance  ; 
but,  if  possible,  get  the  original  of  the  photograph  to 
give  you  two  or  three  sittings,  so  that  you  may  copy  the 
colors  from  life,  for  it  must  be  evident  to  every  one  that 
a good  portrait  can  not  be  produced  unless  nature  be  taken 
for  the  model. 


PHOTOGRAPH  PAINTING  IN  WATER  COLORS.  125 


It  is  evident  that  you  must  first  paint  the  fiesh,  thereby 
partially  obscuring  the  photographic  tones  and  shadows, 
and  upon  it  lay  the  shadows,  gray  and  pearly  tints,  as 
they  really  do  occur  in  nature,  all,  in  point  of  color, 
being  widely  different  from  the  photographic  shades. 

If  you  have  never  attempted  any  thing  from  the  life,  it 
will  be  advisable  to  procure  a photograph  from  an  oil  or 
crayon  portrait,  and,  placing  it  before  you,  proceed  to  copy 
the  various  tints  as  they  appear  in  the  picture.  It  will 
perhaps  surprise  you  to  observe  how  much  of  a good 
painting  is  made  up  of  shadows,  gray  and  pearly  tints, 
which  you  will  easily  detect  by  moving  a piece  of  white 
paper  about  to  various  parts  of  the  face  : you  will  then 
observe  how  much  these  tints  prevail,  and  how  far  they 
go  toward  forming  one  harmonious  whole. 

If  you  are  an  amateur  photographer,  place  your  sitter 
a little  higher  than  is  usually  done,  as  by  that  means  you 
will  give  the  neck  its  due  length,  and  consequently  add 
dignity  to  the  head  ; for  it  looks  exceedingly  ungraceful 
to  see  the  shoulders  upon  a line  with  the  ears,  which  is 
always  the  case  when  the  sitter  is  upon  a low  chair,  and 
the  operator  is  looking  down  upon  him.  Portrait  and 
miniature  painters  invariably  place  their  sitters  higher  than 
themselves  — photographers  too  frequently  the-  reverse. 


126  PHOTOGRAPH  PAINTING  IN  WATER  COLORS. 

If  you  use  a screen  to  form  a background,  place  it 
some  distance  from  the  sitter  — say  three  feet,  or  even 
more  — to  gain  space  or  atmosphere  behind  the  head ; 
and  if  you  introduce  curtains,  take  care  to  keep  them 
away  from  the  portrait,  so  that  they  may  not  appear  to 
be  a part  of  it.  Do  not  be  over-anxious  to  crowd  your 
picture,  as  many  professed  photographers  do,  with  gaudy 
bed-furniture  curtains,  old-fashioned  chairs,  vases  of  arti- 
ficial flowers,  plaster  of  Paris  pillars,  etc.,  and  the  usual 
table  placed  so  conveniently  for  the  sitter  to  lean  upon, 
and  for  no  other  purpose  — making  the  head  a secondary 
object  entirely.  Such  “ professors  ” either  know  nothing 
of  the  rules  of  composition,  or  are  anxious  to  give  their 
customers  as  much  as  they  can  for  their  money. 

Preparation  for  Photographs.  — There  being  some  dif- 
ficulty in  apportioning  the  ingredients  for  size  to  harden 
the  surface  of  photographs,  and  many  chemists  having 
urged  objections  against  its  use,  as  tending  to  injure  the 
photographic  tones,  we  have,  therefore,  given  the  matter 
a careful  consideration,  which  has  resulted  in  the  follow- 
ing receipt : — 

Take  a piece  of  white  glue,  (that  made  from  parchment  is 
the  best,)  about  as  large  as  a nut,  and  put  it  into  a cup  with 
three  table-spoonfuls  of  warm  water,  and  as  much  ground 


PHOTOGRAPH  PAINTING  IN  WATER  COLORS.  127 


alum  as  will  cover  a quarter  of  a dollar ; stir  them  well  till 
the  size  and  alum  are  dissolved,  and  apply  the  mixture. 

To  prepare  the  Photograph.  — Dip  a flat  camel-hair 
brush  into  the  preparation,  and  go  gently  over  the  whole 
surface  of  the  photograph,  taking  care  not  to  make  it  too 
wet.  It  should  be  merely  brushed  over  slightly ; but 
every  part  must  be  covered,  or  the  color  will  sink  into 
the  places  you  have  missed. 

When  it  is  dry,  wash  it  with  a sponge  and  cold  water, 
to  remove  any  extraneous  matter  which  may  have  lodged 
on  it.  Gum  or  paste  the  back,  and  lay  it  down  on  a good 
thick  piece  of  card-board,  and,  placing  a sheet  of  writing 
paper  on  the  face  of  the  photograph,  with  a silk  hand- 
kerchief rub  it  softly,  to  smooth  and  flatten  it  down ; 
when  dry,  it  is  ready  to  work  upon. 

Some  photographic  papers  are  more  porous  than  others, 
and  will  therefore  require  two  coats  of  the  preparation ; 
but  one  is  generally  enough.  Wet  a corner  of  the  pho- 
tograph with  color,  and  if  it  washes  off,  leaving  no  indi- 
cation of  a stain,  it  is  in  a condition  to  work  upon  ; but 
should  the  color  sink  into  the  paper,  it  will  be  necessary 
to  give  it  another  coat.  It  is  essential  that  the  paper  be 
well  hardened,  as  every  thing  depends  upon  it ; for,  if 


128  PHOTOGRAPH  PAINTING  IN  WATER  COLORS. 


it  be  not  properly  prepared,  it  will  not  take  the  colors 
kindly  — you  will  be  unable  to  obtain  force  or  brilliancy, 
and,  in  fact,  all  the  labor  which  you  can  bestow  upon  it 
will  be  “ stale,  flat,  and  unprofitable.” 

Albumenized  paper  seldom  requires  any  preparation, 
but  need  only  be  carefully  washed  with  cold  water  and  a 
soft  sponge  ; you  may  then  hold  it  up  before  the  light, 
and  if  you  observe  any  transparent  spots  upon  it,  like 
grease,  there  the  water  has  gone  through,  and  you  will 
find  it  necessary  to  touch  them  with  the  preparation  al- 
ready referred  to. 

In  the  old  edition  of  Art  Recreations  the  following  list 
of  colors  is  given  as  necessary:  — 


Carmine, 

Bose  Madder, 
Crimson  Lake, 
Venetian  Red, 
Indian  Red, 
Vermilion, 


Chrome,  1,  2,  3, 
Indian  Yellow, 
Roman  Ochre, 
Gamboge, 
Cobalt, 

French  Blue, 


Emerald  Green, 
Indigo, 

Prussian  Blue, 
Burnt  Sienna, 
Burnt  Umber, 
Sepia, 


Vandyke  Brown, 
Madder  Brown, 
Ivory  Black, 
Chinese  White, 
Constant  White. 


“ Artists’  Colors  and  Plow  to  Mix  Them  ” * will  teach 
how  to  make  an  equivalent  for  each  from  the  ten  colors 
in  Tilton’s  Decorative  Art  Color-Box,  except  white. 


Published  by  S.  W.  Tilton  & Co.,  Boston,  and  sent  by  mail  to  any 
address  on  receipt  of  price. 


PHOTOGRAPH  PAINTING  IN  WATER  COLORS.  129 


Constant  White  is  nearly  out  of  use,  Chinese  or  zinc  white  hav- 
ing almost  superseded  it ; the  only  parts  it  is  adapted  for  being  the 
light  on  the  eye,  lace,  and  linen.  It  possesses  little  or  no  body, 
and  is  therefore  valueless  in  cloth  fabrics. 

Chinese,  or  Zinc  White.  — This  is  the  most  valuable  white  that  a 
photographic  colorist  can  use  : it  washes  freely,  either  by  itself  or 
in  combination  with  other  colors,  and  possesses  this  advantage 
over  other  whites,  that  it  does  not  change  color  in  drying.  Flake 
white,  which  was  so  much  used  by  miniature  painters,  invariably 
dried  several  shades  lighter  than  when  first  applied  to  the  paper 
or  ivory,  and  was  liable  to  change.  Chinese  white  must  be  kept 
away  as  much  as  possible  from  any  color  which  has  iron  in  its 
composition,  as  it  has  been  found  to  be  affected  by  it.  It  is  used 
for  lights  upon  cloth,  metal,  etc.  In  its  pure  state  it  is  shadowed 
with  cold  gray,  deepening  into  a black  in  the  darkest  places. 

Indian  Yellow,  — A most  powerful  color,  used  in  flesh  and  dra- 
peries ; is  permanent,  and  works  extremely  well ; forms,  with 
indigo  and  burnt  sienna,  several  beautiful  greens,  etc. ; shadowed 
with  sepia  and  purple  lake. 

Indian  Yelloiv,  Indigo,  and  Burnt  Sienna  are  useful  for  green  dra- 
peries and  backgrounds. 

Gamboge,  Indigo,  and  Burnt  Sienna  form  a good  green  for  dra- 
peries and  backgrounds.  Green  is  not  a good  color  to  use  too 
freely  in  portraits,  for  unless  the  flesh  be  very  sallow,  it  spoils  it. 
Subdue  it  as  much  as  possible,  and  shadow  with  lake  and  sepia, 
glazing  with  Vandyke  brown. 

Cadmium  Yelloxc.  — A very  bright  color,  and  its  durability  may 
be  relied  upon  ; it  is  serviceable  in  draperies,  and  in  forming  orange 
tints,  but  is  too  powerful  for  flesh. 

Gamboge.  — Not  a good  color  for  flesh,  as  it  is  too  brassy  ; use- 


130  PHOTOGRAPH  PAINTING  IN  WATER  COLORS. 


ful  in  its  combination  with  indigo  and  burnt  sienna,  in  forming  a 
multitude  of  greens  and  browns. 

Emerald  Green.  — Very  useful  for  the  high  lights  of  some  bright 
greens  and  stones  in  jewelry ; when  mixed  with  gamboge  it  forms 
a delicate  pale  green  for  ladies’  dresses,  the  high  lights  for  which 
have  zinc  white  and  lemon  chrome  added  to  the  local  color. 

All  green  drapery  should  be  kept  away  from  the  flesh  as  much 
as  possible.  Shaded  as  other  greens. 

Chrome.  — There  are  five  different  shades  of  chrome,  commencing 
with  a pale  primrose,  and  deepening  into  a powerful  orange ; they 
are  all  opaque,  are  good  working  colors,  and  are  sometimes  used 
in  dark  flesh  tints,  and  always  for  the  reflected  lights  under  the 
chin.  With  indigo  they  form  a number  of  different  shades  of 
green,  which  may  occasionally  be  used  for  background  draperies, 
when  the  photograph  is  heavy  and  dark  Chrome  is  likewise  used 
for  gold  ornaments,  although  Roman  ocher  is  to  be  preferred; 
when  used  in  its  pure  state,  it  is  shaded  with  burnt  umber,  and,  in 
the  darkest  parts,  burnt  umber  and  lake.  High  lights,  the  local 
color  and  Chinese  white. 

Roman  Ocher. — Useful  in  draperies  and  for  strengthening  up  the 
yellows  in  very  dark  complexions,  and  is,  perhaps,  the  best  yellow 
for  gold  ornaments.  It  serves  likewise  for  all  kinds  of  flaxen  hair, 
either  by  itself,  or  when  combined  with  sepia,  but  is  not  often  used 
in  draperies. 

Burnt  Sienna  is  too  foxy  a color  for  flesh,  although  in  very  dark 
complexions  it  is  sometimes  admitted  ; but  generally  the  Indian  yel- 
low or  Roman  ocher  is  to  be  preferred.  If  there  be  an  out-door 
scene  for  the  background  of  the  portrait,  this  color,  when  combined 
with  indigo  and  gamboge,  will  be  found  very  useful  for  all  kinds  of 
foliage,  these  three  colors  forming  a number  of  green  tints.  High 
lights,  chrome  ; shadows,  umber  and  lake. 


I HOrOGRAPH  PAINTING  IN  WATER  COLORS.  131 


Ultramarine.  — For  durability  and  brilliancy,  there  is  no  other 
blue  at  all  to  be  compared  to  ultramarine,  and  although  many  sub- 
stitutes have  been  offered,  yet  none  have  approached  it  in  beauty. 
Cobalt,  which  is  very  generally  used  instead,  sinks  into  utter  insig- 
nificance when  placed  near  it.  Genuine,  it  is  a very  expensive 
color ; the  imitation  is  known  as  French  blue.  If  you  wish  to 
substitute  ultramarine  for  cobalt  in  the  grays,  you  must  be  very 
sparing  of  it,  because  it  is  a very  powerful  color  — sometimes  used 
for  ladies’  dresses  and  the  sky  in  backgrounds.  Cobalt  and  a little 
lake  make  a color  approximating  to  it,  shaded  as  cobalt.  High 
lights,  the  local  color  and  Chinese  white. 

French  Blue  is  well  adapted  for  draperies,  and  occasionally  for 
the  sky  in  backgrounds,  but  for  the  latter  purpose  cobalt  is  prefer- 
able. It  is  a powerful  color,  possessing  great  body,  and,  like  all 
blues,  requires  subduing  with  warm  browns.  By  candle-light  it 
assumes  a dark,  heavy  appearance,  almost  approaching  to  black. 
Treated  in  the  lights,  and  shaded  as  cobalt ; when  the  color  is  used 
in  great  strength,  the  shadows  must  be  powerful. 

Cohalt.  — Permanent,  and  a good  working  color  ; used  freely  in 
grays,  pearly  tints,  and  shadows  — washed  or  stippled  over  indigo 
for  blue  skies  and  backgrounds.  Blue,  being  a cold  color,  is  apt 
to  destroy  the  effect  of  your  picture,  unless  you  subdue  or  kill  it ; 
negative  it,  therefore,  as  much  as  you  can,  by  toning  it  down  with 
warm  colors,  keeping  all  your  shadows  of  a brownish  tint,  and 
lea\dng  your  high  lights  only  positive  blue.  These  remarks  apply 
solely  to  blue  draperies. 

Prussian  Blue  is  not  admissible  in  flesh  tints  at  all,  being  liable 
to  turn  to  a greenish  hue.  It  is  very  useful  for  blue  draperies,  and 
when  mbxed  with  gamboge,  bright  greens  are  produced.  Prussian 
blue,  and  lake  or  carmine,  make  a number  of  purples,  violets, 
lilacs,  &c. 


132  PHOTOGRAPH  PAINTING  IN  WATER  COLORS. 


Indigo.  — A very  dark  blue,  and  a good  working  color  ; useful, 
with  gamboge  and  burnt  sienna,  in  forming  greens  and  browns  of 
almost  every  possible  shade  ; while  with  carmine  it  produces  pur- 
ples and  violets,  and  may  sometimes  be  taken,  instead  of  cobalt, 
for  the  dark  shadows  of  the  face.  Indigo  and  Prussian  blue  make 
an  excellent  color  for  blue  cloth  — add  a little  lake  if  you  desire 
to  produce  a coppery  blue,  which  so  frequently  occurs. 

If  you  would  have  a blue  backgi-ound  of  considerable  depth,  but 
at  the  same  time  not  glaring,  wash  in  with  indigo,  or  indigo  and 
lake,  and  work  over  with  cobalt. 

Indigo  and  Carmine.  — An  excellent  purple,  and  better  adapted 
for  draperies  than  Prussian  blue  and  carmine,  being  less  gaudy  ; in 
both  instances  the  carmine  used  should  be  dissolved  in  ammonia, 
and  no  gum  added. 

Carmine  is  the  most  brilliant  crimson  we  possess,  and  when 
mixed  with  vermilion,  forms  the  best  color  for  officers’  coats  and 
background  draperies,  but  for  the  latter  purpose  it  must  be  much 
subdued.  Spirit  carmine  and  the  blues  form  many  useful  purples, 
&c.  (See  Prussian  Blue.)  Spirit  carmine  is  made  in  the  follow- 
ing manner  : Obtain  some  color  in  powder,  wet  it  with  a few 

drops  of  liquid  ammonia,  and  let  it  stand  till  the  spirit  evaporates, 
and  it  is  then,  with  the  addition  of  a little  water,  fit  for  use.  It  is 
better  for  draperies  than  the  cake  color,  but  it  must  not  be  used 
in  flesh  tints.  Should  it  become  dry  and  unfit  for  use,  put  in  a 
little  water  to  moisten  it  ; there  is  no  necessity  for  a second 
application  of  ammonia,  unless  it  dries  upon  the  photograph  and 
comes  off. 

Indigo.,  Gamboge.,  and  Burnt  Sienna.  — A brown  made  up  of  the 
above  three  colors  is  useful  in  hair,  draperies,  etc. 

Carmine  and  Vermilion  makes,  perhaps,  the  very  best  color  for 
officers’  coats,  and  draperies  of  a like  description,  but  it  is  too 


PHOTOGRAPH  PAINTING  IN  WATER  COLORS.  133 


bright  to  use  in  the  background,  unless  you  subdue  it,  which  may 
be  done  with  sepia  and  lake. 

Rose  Madder.  — A most  useful  color  in  flesh  and  carnations,  and 
when  necessary,  may  be  strengthened  with  lake  or  vermilion ; it 
works  well,  but  possesses  little  intensity.  Rose  madder  tints  are 
found  in  youth ; but  as  your  sitter  approaches  middle  age,  a little 
lake  or  vermilion  is  added  to  heighten  them.  Portraits  of  aged 
persons  have  more  lake  than  madder ; while  in  the  complexions  of 
children  vermilion  predominates  over  the  latter  color.  Rose  mad- 
der is  a good  color  for  glazing  the  under  lip. 

Crimson  Lake. — For  flesh  tints  and  draperies,  all  lakes  are  ex- 
ceedingly useful,  not  only  by  themselves,  but  in  their  combinations 
with  other  colors.  When  used  as  a shadow  color  with  sepia,  it 
is  better  to  have  purple  lake. 

Vermilion  is  frequently  used  in  flesh  washes  for  fair  people  and 
children ; but  it  must  be  with  extreme  caution,  as  it  is  a very  heavy 
color.  In  its  pure  state  it  is  a good  color  for  the  lips.  Elemen- 
tary works  generally  give  three  different  vermilions,  viz.,  vermil- 
ion, scarlet  vermilion,  and  orange  vermilion ; but  you  can  make 
the  two  last  named,  by  adding  to  the  first,  carmine  for  the  scarlet, 
and  gamboge  for  the  orange,  which  will  answer  every  purpose. 
Combined  with  rose  madder  for  children’s  carnations. 

Light  Red.  — A durable  color,  and  of  great  use  in  flesh ; with 
carmine  or  vermilion,  and  a little  Indian  yellow,  it  forms  a wash 
which,  when  properly  modified,  wall  do  for  almost  every  complex- 
ion. Miniature  painters,  with  this  color,  cobalt,  rose  madder,  and 
Indian  yellow,  make  their  gray  shadows  and  pearl  tints. 

Venetian  Red,  differing  but  slightly  from  light  red,  may  be  used 
for  precisely  the  same  purposes. 

Indian  Red.  — A good  color  for  strengthening  the  darkest  shad- 
ows on  the  face,  but  must  be  used  sparingly,  being  in  its  nature 


134  PHOTOGRAPH  PAINTING  IN  WATER  COLORS. 


very  powerful ; has  great  body,  and  inclines  to  a purple  hue.  It  is 
durable  and  works  well,  and  when  used  with  lake,  is  a good  color 
for  putting  in  the  upper  lip  with. 

Burnt  Umher.  — A good  working  color,  but  seldom  used,  except 
for  hair  and  draperies. 

Vandyke  Brown.  — So  named,  after  the  prince  of  portrait  paint- 
ers, in  consequence  of  the  free  use  of  it  in  his  works.  It  is  a fine 
glazing  color,  and  is  well  adapted  for  strengthening  the  shadows 
under  the  nose,  glazing  the  darkest  shades  of  green  draperies  and 
the  hair.  This  is,  perhaps,  the  most  beautiful  brown  that  we  have. 

Madder  Brown.  — A very  rich  brown,  and  of  great  use  in  dra- 
peries ; combined  with  cobalt,  it  forms  many  very  excellent  grays 
suitable  either  for  the  face  or  background. 

All  madders  are  said  to  be  permanent. 

Sepia  is  the  most  useful  brown,  no  other  entering  so  largely 
into  combination  with  other  colors  as  this  does ; with  lake,  indigo, 
and  gamboge,  a pure  transparent  black  is  formed,  calculated  for 
silks,  satins,  and  black  cloth.  Sepia  and  lake,  again,  make  the 
best  color  for  giving  the  sharp  touches  about  the  eyes,  eyebrows, 
etc.  ; and  for  the  hair  it  stands  unrivaled  by  any  other  brown, 
being  useful  not  only  in  the  lightest,  but  also  in  the  very  darkest 
tints. 

Se2)ia  and  Indigo.  — A gray  formed  of  the  above  colors  is  of  use 
for  backgrounds ; may  be  strengthened  in  the  darker  parts  with 
sepia  alone,  and  warmed  with  Vandyke  brown. 

Sepia,  Indigo,  and  Lake  form  an  excellent  black,  used  for 
silks,  satins,  and  as  a shadow  color  for  black  cloth.  With  these 
three  colors  you  may  make  a black  of  any  required  tint.  Keep 
the  darkest  shadows  rather  red.  Another  black  is  made  up  of 
indigo,  purple  lake,  and  gamboge,  and  is  equally  as  good  as  the 
former,  and  used  for  precisely  the  same  purposes. 


PHOTOGRAPH  PAINTING  IN  WATER  COLORS.  135 


Lampblack,  — A strong  body  color  ; is  chiefly  used  with  Chinese 
white  for  black  cloths  and  velvets. 

Ivory  Black,  — Much  the  same  as  lampblack,  and  is  occasionally 
used  in  lieu  of  it.  It  is,  however,  a little  browner  than  the  former ; 
both  work  freely. 

Choice  of  Pencils.  — Let  the  pencils  which  you  select 
be  sable,  and  of  a middling  size  ; it  is  very  injudicious 
to  use  small  ones,  as  they  impart  to  the  work  a harsh 
appearance,  which  is  by  all  means  to  be  avoided  ; there- 
fore work  with  a good-sized  pencil,  the  quill  being  some- 
what smaller  than  a goose  or  swan  pen,  and  capable  of 
holding  a reasonable  quantity  of  color  in  fluid.  With 
such  a one  you  will  be  able  to  give  those  firm  touches 
which  are  so  much  admired  by  judges.  You  will,  how- 
ever, sometimes  need  to  use  small  pencils,  in  marking  in 
the  eyes,  nostrils,  etc.  ; but  for  all  large  washes  they  are 
worthless.  When  purchasing  pencils,  dip  them  into 
water,  and  bring  them  to  a point  on  the  nail  of  your 
thumb.  The  hairs  must  be  all  of  a proportionate  length, 
having  a fine  flue  attached  to  the  points,  and,  when  mod- 
erately full  of  water,  should,  upon  being  bent,  spring 
back  to  their  original  form.  See  that  there  be  no  strag- 
gling hairs  about  them,  and  that  they  do  not  split  or 
divide.  A few  French  camel-hair  pencils  must  also  bo 


13  G PHOTOGRAPH  PAINTING  IN  WATER  COLORS. 

obtained,  for  you  will  find  them  very  useful  in  laying 
large  washes  upon  the  background  where  you  require 
smoothness,  but  they  are  not  elastic  enough  for  general 
purposes.  A fiat  camel-hair  tool,  with  which  to  size  the 
photograph,  is  also  necessary. 

Coloring  the  face^  etc.  — Commence  with  a large 
pencil  to  wash  in  the  fiesh  tint ; go  over  the  whole  face, 
and  leave  it  to  dry.  Then  put  in  the  carnations,  but 
do  not  be  in  a hurry  to  do  too  much  at  once  ; keep  all 
the  colors  under,  for  it  is  easier  to  highten  up,  as  you 
go  on,  than  to  reduce  them,  if  they  are  made  too  pow- 
erful. Put  a little  color  now  on  each  lip ; the  upper 
one,  which  is  almost  always  in  shadow,  may  be  laid  in 
with  lake  and  vermilion,  and  the  under  one  with  car- 
mine and  vermilion,  the  latter  predominating,  if  the  sub- 
ject be  juvenile.  Give  the  background  a wash,  and  pro- 
ceed with  the  draperies.  Highten  the  carnations,  and 
lay  on  the  yellows,  which  are  perceptible  in  almost  all 
faces,  but  more  particularly  aged  ones,  about  the  tem- 
ples, eyes,  and  mouth.  Strengthen  up  the  eyes,  nostrils, 
and  mouth  with  lake,  and  do  the  like  to  the  hair  with 
the  proper  shadow  color,  working  in  the  direction  of  the 
curls,  or  in  a wavy  manner,  just  as  it  may  be  adjusted; 


PHOTOGRAPH  PAINTING  IN  WATER  COLORS.  137 


and  glaze  over  the  under  lip  with  lake  or  rose  madder, 
in  accordance  with  the  natural  tint.  The  white  of  the 
eye,  as  it  is  commonly  called,  varies  in  color  as  age 
advances  — in  childhood  and  youth  it  is  nearly  a posi- 
tive blue  ; gradually  it  loses  that  tint,  and  merges  into 
a pearly  tone,  while  in  old  age  it  becomes  nearly  yel- 
low. For  the  pearly  tone,  you  will  use  a like  color  to 
the  pearly  tints  of  the  face,  increasing  the  blue  as  you 
approach  to  childhood,  while  for  aged  sitters  a pale  wash 
of  Indian  yellow  may  be  taken.  The  iris  must  be  laid 
in  with  transparent  color,  then  shaded,  and  afterward 
finished  with  Chinese  white.  The  pupil  is  always 
touched  in  with  a dark  color,  and  the  speck  of  white 
is 'laid  on  at  the  last.  If  the  eye  be  black  or  brown, 
the  same  lights  are  used  as  for  black  or  brown  hair, 
namely,  light  red  and  Chinese  white  for  the  former,  and 
neutral  or  purple  tint  and  white  for  the  latter. 

It  is  a practice  with  several  miniature  painters,  in 
hightening  the  complexion,  to  lay  the  colors  in  little 
square  forms,  working  their  pencils  in  various  directions, 
and  leaving  the  interstices  to  be  filled  up  afterward  by 
stippling.  This  method  gives  what  is  called  a fatty  ap- 
pearance to  the  work,  and  renders  it  bold  and  masterly. 


138  PHOTOGRAPH  PAINTING  IN  WATER  COLORS. 

Others,  again,  finish  off  with  hatches,  and  the  crossings 
of  the  pencil  somewhat  resemble  the  lines  in  a fine-line 
engraving  of  the  face,  being  worked  as  much  as  possible 
in  the  direction  of  the  muscles.  But  this  should  not  he 
resorted  to  till  near  the  end  of  the  work  ; for  if  you 
begin  too  early,  you  will  never  be  able  to  gain  depth, 
and  the  more  you  labor,  the  more  wiry,  harsh,  and  dry 
will  the  character  of  your  performance  be.  When  the 
flesh  color  has  been  suificiently  hightened,  and  is  as 
near  to  the  original  as  you  think  you  can  get  it,  then 
begin  with  the  pearly  gray  and  shadow  tints,  keeping 
them  as  pure  and  transparent  as  possible,  working  with 
a light  hand,  for  fear  of  disturbing  the  under  color, 
which  must  not  be  sulfered  to  mix  with  them,  or  they 
will  become  muddy,  and  consequently  lose  all  their 
transparency.  Grays  are  not  intended  to  hide  the 
local  color,  but  only  to  be  passed  over  it  as  a glaze. 

In  coloring  photographs  of  ladies,  you  can  not  fail 
observing  that  their  necks  are  always  much  lighter  in 
color  than  their  faces,  and  that  the  pearly  tints  are  seen 
in  them  to  advantage ; use  the  flesh  wash  much  lighter 
for  the  former  than  the  latter. 

Note  that  the  delicate  blending  of  these  pearly  tints 


PHOTOGRAPH  PAINTING  IN  WATER  COLORS.  139 


into  the  flesh  and  shadows,  gives  softness  and  rotundity 
to  the  work  ; for  if  the  shadows  be  left  hard  against  the 
lights,  not  being  duly  graduated  into  them  with  the 
pearly  tint,  your  picture  will  appear  crude  and  harsh, 
wanting  that  connecting  link  which  they  form.  The 
palms  of  the  hands  and  tips  of  the  Angers  are  generally 
of  a pinky  hue,  and  the  backs  are  much  the  same  in  tone 
as  the  neck.  In  your  anxiety,  however,  to  make  them 
appear  delicate,  be  careful  not  to  keep  them  too  white, 
as  that  will  mar  your  picture.  But  in  many  instances 
this  caution  is  unnecessary  ; for  unfortunately  photo- 
graphs generally  are  heavy  and  dark,  so  that  you  will 
be  necessitated  to  brighten  them  up  considerably. 

It  may  now  be  presumed  that  the  face  is  nearly  fln- 
ished  ; all  remaining  to  be  done  being  to  give  the  sharp, 
spirited  touches  ’which  occur  about  the  eyes,  mouth,  and 
nostrils,  and  impart  life  and  intelligence  to  the  whole 
countenance.  If  the  original  of  the  photograph  be  dark, 
you  will  use  sepia  and  purple  lake  in  nearly  equal  pro- 
portions for  that  purpose  ; but  if  the  sitter  be  fair,  you 
must  discard  the  greater  part  of  the  sepia. 

It  should  have  been  remarked  before,  that  the  shadow, 
which  almost  always  occurs  under  the  nose,  may  be 


140  PHOTOGRAPH  PAINTING  IN  WATER  COLORS. 

glazed  with  Vandyke  brown ; hut  be  careful  not  to 
make  it  heavy. 

The  background,  hair,  and  draperies,  will  next  claim 
your  attention  ; but  ere  you  finish  the  hair,  it  will  be 
necessary  to  complete  the  background,  so  that  the  hair 
may  not  be  interfered  with  by  the  background  color  com- 
ing up  to  or  over  it ; but  let  the  hair  be  brought  over 
and  finished  upon  the  background  in  a light,  feathery 
manner.  When  the  background  is  complete,  give  the 
last  touches  to  the  shadowed  parts  of  the  hair,  and  lay 
on  the  high  lights. 

No  mention  has  yet  been  made  of  gum,  which  is  in 
request  with  some  photographic  colorists,  but  which  had 
better  not  be  resorted  to  at  all  if  you  can  possibly  do 
without  it.  However,  if  your  work  appears  dull  and 
spiritless  in  those  places  where  it  should  be  otherwise, 
a little  gum  may  be  used  for  the  eyes,  parting  of  the 
lips,  hair,  and  eyebrows.  You  may  either  mix  it  in  the 
color  for  the  last  touches,  or  use  it  by  itself,  as  a glaze ; 
but  do  not  use  much  on  the  picture,  for  it  gives  it  a dis- 
agreeable appearance. 

Flesh  Tints.  No.  1.  Fair  Complexion.  — Light  red,  a little 
carmine  or  vermilion,  and  Indian  yellow  ; be  very  careful  in  using 


PHOTOGRAPH  PAINTING  IN  WATER  COLORS.  141 


the  latter,  for  the  reasons  before  specified;  and,  in  the  flesh  tints 
of  very  fair  children,  allow  the  vermilion  to  predominate.  Carna- 
tions, rose  madder,  and,  if  the  face  be  full  of  color,  add  a little  ver- 
milion to  it. 

No.  2.  Middling  Complexion. — Much  the  same  as  No.  1,  saving 
that  the  light  red  must  be  in  excess  over  the  other  colors  — carna- 
tions, rose  madder,  and  lake. 

No.  3.  Dark  Complexion.  — Light  red  and  Indian  yellow,  or 
light  red  and  Roman  ocher,  and  if  the  complexion  be  generally 
ruddy,  you  may  add  a little  Indian  red ; but  it  must  be  sparingly 
used,  as  it  is  a powerful  color,  and  likely  to  impart  a purple  tone 
to  the  flesh.  Carnations  chiefly  lake  ; but  if  the  complexion  be 
warm,  lake  and  a little  yellow.  The  carnations  for  children’s  por- 
traits are  rose  madder  and  vermilion,  inclining  more  to  the  latter 
tint.  Aged  persons  have  rose  madder  and  a little  cobalt,  to  give  a 
cold  appearance  to  the  color  in  their  cheeks  and  lips. 

These  tints.  Nos.  1,  2,  and  3,  are  indispensable,  as  general  washes, 
for  the  purpose  of  receiving  the  other  colors,  which  are  to  be 
worked  over  them  to  bring  up  the  complexion  to  the  life. 

Uncolored  photographic  portraits  vary  so  much  in  tone,  that  the 
beginner  will,  perhaps,  find  some  difficulty  in  mixing  up  the  tints 
for  the  washes.  He  must  note  that  the  warm-toned  ones  do  not 
require  so  much  Indian  yellow  as  the  cold  ones  do. 

Shadow,  Gray,  and  Pearly  Tints.  No.  1.  Fair  Complexion. 
— Cobalt,  rose  madder,  Indian  yellow,  and  light  red,  will  produce 
every  variety  of  the  above,  from  the  most  delicate  pearl  up  to  the 
strongest  shadow  color,  and  are  suitable  for  every  complexion.  It 
must  bo  borne  in  mind  that  the  gray  should  be  kept  cool,  and  the 
shadows  warm,  and  that  in  laying  them  on,  particular  care  must  be 
taken  that  the  under  tints  are  not  disturbed,  otherwise  you  will 


142  PHOTOGRAPH  PAINTING  IN  WATER  COLORS. 


muddle  the  grays,  etc.,  and  make  them  opaque,  which  is  always  to 
be  avoided,  as  it  is  intended  to  show  the  flesh  color  under  them. 

These  tints  appear  to  differ  in  different  complexions,  but  the  dif- 
ference is  caused  more  through  the  local  color  that  they  go  over, 
than  any  great  alteration  in  themselves ; when  the  flesh,  however, 
is  very  powerful  in  color,  the  grays,  etc.,  must  be  stronger  than 
when  it  is  delicate. 

No.  2.  Middling  Complexion  Shadoto.  — Darker  than  No.  1,  and 
composed  of  cobalt,  Indian  yellow,  and  madder  brown.  These  three 
colors  produce  a great  number  of  very  useful  grays. 

No.  Z.  Dark  Complexion  Shadoto.  — Rather  warmer  than  No.  2, 
having  a little  more  of  the  Indian  yellow  added  to  the  cobalt  and 
madder  brown.  These  three  tints  will  answer  all  purposes  in  pho- 
tography. No.  1,  with,  or,  if  the  paper  be  of  a warm  hue,  without 
the  yellow,  forms  a good  serviceable  gray  or  pearly  tint,  useful  for 
all  complexions.  It  may  be  necessary  to  remark,  that  yellow  is  not 
so  much  in  request  for  coloring  photographs  as  for  painting  on 
ivory  or  Bristol-board ; the  photographic  paper,  in  itself  partaking 
so  much  of  a warm  color,  renders  it  less  necessary. 

Hair  Colors.  — In  coloring  hair,  never  shadow  it  with 
the  local  color  ; all  the  shadows  must  be  somewhat  dif- 
ferent ; and  the  same  may  be  said  of  the  high  lights. 
Upon  brown  hair  they  partake  of  a purple  tinge,  and 
the  shadows  are  in  general  formed  with  sepia,  or  sepia 
and  lake  ; and  upon  some  particular  kind  of  flaxen  they 
incline  to  a greenish  color,  which  is  produced  by  sepia. 
Burnt  umber  is  most  useful  in  brown  and  auburn  hair ; 


PHOTOGRAPH  PAINTING  IN  WATER  COLORS.  143 


and  here,  again,  the  sepia  and  lake  form  the  best  shadow 
colors.  A good  mixture  for  black  hair  is  composed  of 
sepia,  indigo,  and  lake,  or  lake,  indigo,  and  gamboge  ; 
the  lights  slightly  inclining  to  a purple  tint,  the  blue 
predominating.  But  black  hair  is  of  so  many  different 
hues,  that  it  is  impossible  to  give  one  general  tint  which 
will  do  for  all  kinds  ; you  must  be  guided  by  nature, 
endeavoring  to  match  the  colors  to  the  best  of  your  abil- 
ity. Put  in  the  general  wash  broadly,  and  bring  it  into 
form  with  the  shadow  color  ; then  lay  on  the  high  lights 
and  reflects  with  the  proper  tints,  mixed  with  Chinese 
white.  Upon  flaxen  hair,  you  will  sometimes  be  able  to 
preserve  them  ; but  in  consequence  of  the  photographs 
being  dark  and  heavy,  you  will  generally  have  to  put 
them  on.  Be  very  particular  in  keeping  the  hair  in 
masses,  and  to  assist  in  doing  so,  use  a good-sized  pen- 
cil to  work  with,  and  never  fritter  it  away  into  little 
pieces,  as  if  you  had  determined  to  show  “ each  partic- 
ular hair.” 

Against  the  background,  let  it  be  a little  feathery, 
as  it  appears  in  nature,  and  do  not  permit  it  to  cut 
into  the  face,  as  if  it  were  glued  upon  it.  For  the 
purpose  of  assisting  the  beginner,  a few  local  washes 
are  given. 


144  PHOTOGRAPH  PAINTING  IN  WATER  COLORS. 


Flaxen  Hair,  — The  best  wash  for  flaxen  hair  is  undoubtedly 
Roman  ocher,  which  may  be  modified  with  sepia  to  suit  the  various 
shades.  A warmer  flaxen  is  composed  of  Roman  ocher  alone,  both 
being  shaded  with  Roman  ocher  and  sepia.  The  high  lights  for  the 
former  are  made  of  Chinese  white,  mixed  with  a delicate  purple ; 
but  if  the  hair  be  of  a sunny  color,  then  use  Roman  ocher  and 
white  only.  Always  lay  in  the  shadows  first,  and  then  put  in 
the  high  lights,  taking  care  to  keep  them  thin,  working  with  a 
bare  pencil,  so  that  the  color  of  the  hair  may  appear  through 
them  ; and  in  shadowing,  also  use  the  tints  thin,  for  the  same 
reason.  Never  put  any  white  in  the  shadows ; they  must  always 
be  transparent.  Gum  is  occasionally  added  to  the  shadow  color,  to 
bring  it  out ; but  as  it  gives  a meretricious  effect  to  the  work,  it 
is  better  to  avoid  it. 

Auhurn  Hair.  — Local  color,  burnt  umber,  and  sometimes  burnt 
umber  and  lake,  according  to  the  particular  shade.  When  the 
auburn  is  very  warm,  add  a little  burnt  sienna  to  the  umber  and 
lake,  shadow  with  burnt  umber  and  lake,  and  glaze  in  the  darkest 
parts  with  a cold  purple.  High  lights,  neutral  tint  and  Chinese 
white. 

Chestnut  Hair.  — The  lights  much  the  same  as  for  auburn  hair  ; 
local  tint,  burnt  umber,  sepia,  and  lake ; shadow  with  sepia,  lake, 
and  indigo  ; in  the  darkest  shadows  let  the  indigo  and  lake  pre- 
dominate. 

Red  Hair.  — Very  red  hair  is  a color  which  does  not  often  occur, 
and  when  met  with,  subdue  or  kill  it  as  much  as  possible,  for  few 
people  are  ambitious  of  possessing  it. 

Venetian  red  and  lake,  with  a little  sepia  to  cool  them,  form  a 
very  good  mixture  for  the  local  tint ; if  it  be  too  red,  add  a little 
gamboge  or  Roman  ocher. 

Should  a lady  rejoice  in  this  colored  hair,  keep  all  blues  as  far 


PHOTOGRAPH  PAINTING  IN  WATER  COLORS.  145 


from  it  as  you  can,  because  their  presence  only  helps  to  exaggerate 
its  fiery  appearance.  Shadow  with  lake  and  burnt  umber ; very 
darkest  parts,  sepia  and  lake.  High  lights,  a delicate  purple  and 
Chinese  white. 

Dark  Brown  Hair.  — Sepia  alone,  or  sepia  and  lake,  or  sepia  and 
burnt  umber  ; lights  inclining  to  purple. 

Gray  Hair.  — Sepia  and  cobalt,  or  sepia  and  indigo,  made  into  a 
pale  wash  ; indeed,  any  of  the  grays  may  be  used,  provided  they 
are  in  accordance  with  the  color  intended  to  be  represented.  Gray 
hair  is  sometimes  of  a warm  hue,  and  sepia  is  a close  approximation 
to  it ; shadow  with  sepia. 

Black  Hair.  — The  best  color  for  black  hair  is  composed  of  sepia, 
indigo,  and  lake,  or  lake,  indigo,  and  gamboge,  making  the  red  or 
blue  predominate,  as  it  may  appear  in  nature.  Keep  the  shadows 
of  a warm  brown  tint,  and  the  lights  cold,  inclining  to  neutral  tint ; 
and  sometimes,  when  the  hair  is  exceedingly  black  and  heavy,  the 
lights  are  laid  in  with  light  red  and  Chinese  white,  being  exactly 
the  same  as  the  lights  for  black  cloth. 

Draperies,  and  other  Cloth  Fabrics.  — In  painting 
cloth,  fabrics,  it  will  be  advantageous  to  use  the  local 
color  at  first  much  lighter  than  you  desire  it  to  appear 
when  finished,  as  it  will  permit  the  folds  of  the  drapery 
to  be  discernible  under  it ; but  to  render  the  matter  as 
clear  as  possible,  proceed  as  follows  : Take,  for  example, 
a black  coat  to  paint  ; begin  by  laying  in  a weak  local 
wash  as  directed,  and  when  it  is  dry,  go  over  the  folds 
with  a thin  shadow  color,  which  will  prevent  them  being 


146  PHOTOGRAPH  PAINTING  IN  WATER  COLORS. 

obscured  by  the  next  local  wash.  Having  repeated  this 
process  two  or  three  times,  you  will  most  likely  find  the 
coat  to  be  as  dark  as  necessary  , but  the  shadows  will 
be  too  poor  and  feeble.  You  will  then  strengthen  them 
with  sepia  and  lake  ; and  when  brought  to  the  required 
depth,  lay  on  the  high  lights  with  light  red  and  Chinese 
white,  remembering  to  use  a bare  pencil  and  a gentle 
hand  for  that  purpose,  for  if  you  work  your  pencil  about, 
and  press  heavily  upon  it,  you  will  inevitably  disturb  the 
local  color,  and  mix  it  with  the  lights.  These  repeated 
shadowings  after  each  wash  would  be  quite  unnecessary 
did  they  not  serve  to  retain  the  photographic  folds  in- 
tact, for  if  you  laid  on  the  local  color  at  once,  and  as 
powerful  as  you  desired,  you  would  be  almost  certain 
of  hiding  them,  and  having  them  to  draw  in  from  your 
duplicate  copy.  By  laying  in  the  washes  one  over  the 
other  as  directed,  you  gain  a texture  and  evenness  of 
tint  which  you  could  not  otherwise  obtain.  If  the  pho- 
tograph be  bold  in  the  shadows,  and  bright  in  the 
lights,  there  will  be  no  necessity  for  going  over  the 
former  after  each  wash.  All  cloth  fabrics  may  be 
handled  after  the  same  manner.  You  must  take  care 
that  these  under  shadowings  do  not  become  heavy ; they 


PHOTOGRAPH  PAINTING  IN  WATER  COLORS.  147 


are  only  meant  to  save  you  the  trouble  of  copying,  should 
the  local  color  hide  them,  for,  as  a matter  of  course,  all 
shadows  must  be  painted  upon,  and  not  under,  the  color 
on  which  they  are  projected. 

A good  black  for  gentlemen’s  drapery  is  made  of  in- 
digo, lake,  and  gamboge,  or  indigo,  spirit  carmine,  and 
gamboge.  When  you  require  a blue  black,  first  make 
a blue  purple,  and  then  add  the  gamboge  till  the  tint 
is  changed  into  a black.  A red  black  must  be  made  of 
a red  purple,  or  inclining  that  way.  Miniature  painters 
generally  use  lamp  or  ivory  black  for  cloth  drapery ; but 
as  both  of  these  are  body  colors,  they  will  hide  the 
shadows  of  the  photograph,  which  must  be  kept  per- 
fectly transparent,  and  finished  upon  with  sepia  and 
lake.  The  shadow  tint  must  in  all  cases  be  used  rather 
thin,  as  it  is  intended  only  partially  to  obscure  the  local 
color,  not  to  hide  it,  which  it  would  do  if  it  were  made 
powerful,  besides  imparting  a hard,  patchy  appearance 
to  the  work. 

In  shadowing,  never  work  across  the  folds,  but  always 
carry  your  pencil  in  the  direction  that  they  run,  and 
from,  not  to,  the  outline.  Your  own  judgment  must 
guide  you  in  apportioning  the  sepia  and  lake  for  shad- 


148  PHOTOGRAPH  PAINTING  IN  WATER  COLORS. 


ows  ; some  blacks  require  them  to  be  much  redder  than 
others.  A camel-hair  pencil  is  better  adapted  for  lay- 
ing in  the  draperies  than  a sable  one,  because  the  color 
flows  from  it  more  freely,  and  the  markings  of  the  tool 
are  not  perceptible. 

Silks,  Satins,  etc.  — The  tints  for  the  above  are  made  up  precisely 
the  same  way  as  for  cloth  fabrics,  and  must  be  painted  in  broadly, 
keeping  the  lights  bright,  and  the  shadows  transparent.  White  is 
admitted  sometimes  into  the  local  color  for  the  purpose  of  forming 
the  high  lights ; black  silk  and  satin  always  excepted,  which  re- 
ceive the  same  lights  as  black  cloth,  viz.,  light  red  and  Chinese 
white. 

• Crimson.  — Crimson  is  made  of  pure  liquid  carmine,  modified 
with  lake  for  the  shadows,  and  sepia  and  lake,  without  the  carmine, 
are  used  in  the  deepest  shades.  The  high  lights  are  a little  Chinese 
white  mixed  with  the  local  color. 

Scarlet.  — Scarlet  vermilion  and  carmine  make  the  best  opaque 
scarlet  for  officers’  coats,  etc.,  shadowed  with  carmine  and  lake,  and, 
in  the  darkest  shades,  lake  and  a little  sepia,  without  the  carmine. 
A transparent  scarlet  for  silks  etc.,  is  made  of  carmine  and  gam- 
boge, or  carmine  and  Indian  yellow,  with  gamboge,  is  preferable, 
shadowed  as  the  opaque  scarlet. 

Pmk.  — Pink  is  simply  carmine  or  lake  reduced  with  water,  or 
Chinese  white  delicately  shadowed  with  lake.  High  lights,  Chinese 
white  and  the  local  color.  Hose  and  pink  madder  frequently  rep- 
resent this  color,  shadowed  as  the  last. 

Yellows  are  shadowed  with  the  local  color,  modified  with  umber  ; 
but  some  pale  yellows  have  a cold  gray  tint  coming  against  the 


PHOTOGRAPH  PAINTING  IN  WATER  COLORS.  149 


lights.  The  lights  upon  all  yellows  are  composed  of  the  local  color 
and  Chinese  white. 

Orange.  — Orange  is  made  of  Indian  yellow  and  carmine 
or  carmine  and  gamboge.  A very  good  orange  is  produced  by 
the  union  of  red  chrome  with  gamboge  ; but  it  is  too  heavy  for 
silks. 

Green.  — Indigo  and  gamboge  form  an  excellent  color  for  cloth 
draperies,  shadowed  with  the  same  and  a little  biumt  umber  ; the 
darkest  shades  have  lake  and  umber  or  lake  and  sepia.  High 
lights,  the  local  color  and  lemon  chrome,  or  the  latter  alone  on  the 
local  color  and  Chinese  white.  If  the  green  be  very  yellow,  the 
lemon  clirome  is  the  best  adapted  for  the  lights  ; but  if  it  be  a cold 
color,  then  use  Chinese  white. 

Purple.  — Purple  tints  are  formed  of  blues  and  lakes,  or  blues 
and  spirit  carmine,  and  lilacs  the  same.  The  purples  receive  a 
warm  shadow,  composed  of  the  local  color  and  brown  madder, 
and  if  they  are  very  heavy,  the  dark  shadows  are  brown  madder 
and  purple  lake.  Lilacs  have  similar  shadows,  but  much  lighter. 
High  lights,  the  local  color  and  Chinese  white. 

Blues.  — Blues  of  every  tint  are  shadowed  with  the  local  color 
and  a little  brown  madder,  and  in  the  darkest  places  brown  mad- 
der is  only  used.  High  lights,  the  local  color  and  Chinese  white. 

Backgrounds.  — The  best  colors  for  fair  people  and 
children  are  blues,  purples,  (not  bright,  but  negative,) 
and  grays.  Dark  complexions  may  have  dark  grounds, 
inclining  to  red  or  warm  brown  ; and  where  the  flesh 
tint  is  sallow,  use  warmer  colors,  — greens  approaching 
to  olive,  — to  throw  up  the  reds  in  the  face  to  advan- 


150  PHOTOGRAPH  PAINTING  IN  WATER  COLORS. 

tage.  If  the  usual  curtain  be  allowed  to  creep  into  the 
picture,  make  it  a connecting  color  with  some  other 
analogous  to  it  in  the  figure  or  accessories. 

Never  paint  a bright  blue  ground  and  crimson  cur-, 
tain,  but  keep  every  thing  quiet  and  subdued,  so  that 
the  eye  may  take  all  in  at  one  glance,  having  no  light 
patches  of  color  spread  over  the  picture  to  dazzle  and 
distract  the  gaze  from  the  head,  but  let  every  color 
blend  and  harmonize. 

The  following  are  a few  background  colors  which  will 
assist  the  beginner  in  his  work  : — 

Stone  is  represented  by  a tint  formed  of  carmine,  in- 
digo, and  yellow  ocher ; and  the  more  distant  you  wish 
to  make  it  appear,  the  more  must  the  indigo  prevail. 
If  the  photograph  be  a very  white  one,  it  will  be  neces- 
sary to  lay  a foundation  of  neutral  tint,  to  support  the 
local  color. 

Grays  ; cold  and  warm  grays  of  many  different  hues 
are  made  with  sepia  and  indigo.  The  grays  which 
are  used  in  the  flesh,  will  also  answer  the  same  pur- 
pose. A background  capable  of  many  modifications  is 
made  of  cobalt,  burnt  sienna,  and  a little  rose  madder 
worked  into  it. 


PHOTOGRAPH  PAINTING  IN  WATER  COLORS.  151 

Madder- brown  and  cobalt  are  well  adapted  for  the 
same  purpose,  and  form  good  grounds  for  fair  subjects, 
and  may  be  strengthened  in  the  darkest  places  with  the 
addition  of  a little  indigo. 

Indigo  and  madder-brown  produce  a duller  gray  than 
the  former,  and  of  more  depth. 

A purple,  cloudy  ground  is  made  of  indigo  and  liquid 
carmine  or  lake  ; be  very  careful  not  to  paint  it  too 
bright. 

An  opaque  ground,  of  a chocolate  color,  is  composed 
of  lampblack  and  Indian  red,  and  may  be  lightened  by 
the  use  of  Chinese  white. 

Burnt  umber,  chrome  yellow,  and  Chinese  white  pro- 
duce a lighter  ground  than  the  last  named. 

Opaque  backgrounds  are  far  from  being  artistic,  and 
are  but  seldom  used  ; if  very  dark,  they  give  the  head 
and  figure  the  appearance  of  having  been  cut  out  and 
pasted  down  upon  colored  paper.  If  you  resort  to  them, 
you  will  require  to  soften  around  the  outline  to  take  off 
that  effect,  and  that  can  only  be  done  by  adding  a little 
white  to  the  color.  If  the  background  of  the  photograph 
be  very  dark,  and  you  are  desirous  to  make  it  lighter, 
lay  on  the  transparent  color,  and  lighten  them  up  by 


152  PHOTOGRAPH  PAINTING  IN  WATER  COLORS. 


stippling  some  white  mixed  with  the  local  tint  over 
them,  which  will  have  the  effect  of  relieving  the  head, 
and  whatever  parts  of  the  figure  you  want  to  bring  out. 
Very  dark  grounds  may  also  be  lightened  by  dusting 
some  photographic  powder  colors  over  them,  and  they 
may  sometimes  be  used  on  the  draperies  — but  it 
must  be  held  in  remembrance,  that  they  are  not  per- 
manent. 

Photographers  are,  however,  ‘getting  into  the  way  of 
producing  pictures  with  the  backgrounds  entirely  white, 
and  consequently  they  are  ready  to  receive  whatever  shade 
of  color  may  be  desired,  and  are  infinitely  better  calcu- 
lated for  artistic  display  than  those  heavy  grounds,  which 
require  considerable  discernment  oh  the  part  of  the  artist 
to  understand  where  the  outline  of  the  hair  terminates, 
and  the  background  commences.. 

Paint  curtains,  etc.,  over  the  background,  and  put  on 
the  lights  with  body  colors. 


* Stippling-.  — Toward  the  end  of  the  work  you  will  observe  a number  of 
inequalities  in  the  tints,  caused  by  the  square  patches  of  color  which  you  have 
laid  on  duriri"  the  projjress  of  hinrhteninsT  the  carnations,  grays,  etc.  These 
require  to  be  filled  up  by  the  point  of  the  pencil,  with  an  assimilating  color  ; and 
that  filling  up  is  termed  “stippling.”  Be  careful  not  to  begin  doing  so  till  the 
work  is  nearly  finished  ; for  if  you  commence  too  ear^y,  you  will  most  assuredly 
impart  a woolly  appearance  to  it,  which  is  by  all  means  to  be  avoided. 


PHOTOGRAPH  PAINTING  IN  WATER  COLORS.  153 


When  white  spots  appear  on  the  background  of  the 
photograph,  stipple  them  in  with  a color  that  assimilates 
to  it,  and  then  proceed  as  usual.  When  the  spots  are 
black,  you  may  take  them  out  with  a piece  of  glass 
paper,  and  finish  as  above. 

Tinting  Glass  Positives,  Daguerreotype  Plates,  etc. 
— Photographic  powder  colors  are  most  frequently  used 
for  the  above  purpose,  and  they  are  applied  to  the  pic- 
ture in  a dry  state  with  sable  pencils  ; camel-hair  pencils 
being  employed  for  softening,  and  bringing  the  work  into 
form  and  character. 

Begin  by  breathing  lightly  upon  the  surface  of  the 
portrait,  and  dip  your  pencil  into  the  bottle  containing 
the  flesh  color,  and  work  in  a circular  direction,  press- 
ing gently  upon  the  glass,  to  cause  the  color  to  adhere 
- — the  breathing  is  for  the  same  purpose  ; then  blow  off 
the  superfluous  powder  with  an  India-rubber  bottle.  As 
the  color  approaches  the  outline,  soften  it  off  with  gray, 
and  be  careful  to  preserve  the  roundness  of  the  cheeks 
and  forehead  which  is  observable  in  nature,  by  keeping 
the  high  lights  in  the  center,  and  graduating  the  flesh 
tints  into  the  grays  and  shadows.  Next  put  in  the 
darkest  parts  of  the  draperies  and  hair.  When  engaged 


154  PHOTOGRAPH  PAINTING  IN  WATER  COLORS. 


upon  the  latter,  cause  your  pencil  to  move  in  a wavy 
manner,  as  the  hair  flows.  The  lights  are  to  be  laid  in 
last,  with  the  colors  provided  for  that  purpose,  and  be 
particular  not  to  soil  them  with  the  shadow  tints,  keep- 
ing them  as  bright  as  possible.  Proceed  in  the  same 
way  with  all  the  other  colors,  and  if  the  tints  contained 
in  the  bottles  be  too  powerful  for  your  picture,  you  can 
reduce  them  with  white,  which  bears  the  same  relation- 
ship to  powder  colors  that  water  does  to  the  ordinary 
cakes.  When  at  work,  have  a piece  of  black  cloth  or 
velvet  on  the  reverse  side,  which  will  show  up  the  head 
to  advantage.  The  same  process  as  the  above  is  appli- 
cable to  daguerreotype  portraits  and  paper  pictures, 
the  breathing  on  the  plate,  and  the  varnishing,  alone 
excepted. 

Hitherto  glass  positives  have  only  been  tinted  in  the 
manner  described,  and  which  the  veriest  tyro  in  the  arts 
may  accomplish  with  ease.  Artists  have  given  very 
little  attention  to  the  subject,  believing  that  glass  pic- 
tures would  never  be  much  esteemed  by  the  public,  be- 
cause they  are  taken  upon  such  a brittle  material ; but 
in  consequence  of  the  increasing  demand  for  them,  and 
the  low  prices  for  which  they  can  be  obtained,  it  has 


PHOTOGRAPH  PAINTING  IN  WATER  COLORS.  155 


been  deemed  advisable  to  say  something  upon  the  sub- 
ject ; and  experience  shows  that  more  can  be  done  with 
them  now  than  formerly,  as  they  are  capable  of  receiv- 
ing a considerable  amount  of  finish. 

Having  put  in  the  general  tints  with  powder  colors, 
assimilating  them  as  much  as  possible  to  the  complex- 
ion, you  may  finish  them  up  with  cake  colors,  by  mark- 
ing out  the  eyes,  eyebrows,  mouth,  nostrils,  etc.,  taking 
care,  however,  not  to  run  the  water  colors  into  the  grays 
or  carnations,  as  they  must  be  kept  intact. 

These  various  touchings  produce  a sharp  and  spirited 
effect,  and  will  give  to  the  portrait  a most  decided  and 
artistic  appearance.  If  ornaments  of  gold  or  silver  occur, 
they  may  be  put  in  with  metal. 

If  glass  positives  are  varnished,  which  is  the  work  of 
the  photographer,  you  may  use  water  colors  upon  them 
almost  as  freely  as  on  paper ; but  in  general  all  that  is 
done  to  them  is  merely  to  apply  a little  powder  color  for 
the  flesh,  a touch  of  carnation  in  the  cheeks,  and  a tint 
upon  the  hair,  eye,  and  eyebrows. 

On  coloring  glass  positives  entirely  in  water  colors,  no 
more  need  be  said  than  what  has  already  been  urged  in  the 
case  of  paper  pictures,  the  manner  of  working  being  exactly 


156  PHOTOGRAPH  PAINTING  IN  WATER  COLORS. 


the  same,  the  chief  difficulty  which  presents  itself  being 
that  of  getting  the  colors  to  flow  smoothly ; but  that  is 
easily  overcome  by  the  addition  of  a small  quantity  of 
ox-gall. 

Oil  colors  may  also  be  successfully  used  upon  glass, 
provided  the  amateur  has  a competent  knowledge  of  draw- 
ing to  carry  him  through  the  work  ; the  same  objections 
presenting  themselves  here  as  upon  paper. 

LES  FOR  TINTING  PHOTO- 
GRAPHS SLIGHTLY.  — Having 
prepared  the  photograph  in  the 
usual  way,  take  a little  pink  mad- 
der, carmine,  and  Indian  yellow, 
or  whatever  color  most  resembles 
the  carnation ; lay  it  on  the  cheek, 
and,  with  a clean  pencil,  soften  it 
carefully  all  round  the  edges,  blend- 
ing the  tint  into  the  face.  Repeat 
the  process  once  and  again,  till  you  have  obtained  nearly 
as  much  color  as  necessary  — I say  nearly  as  much, 
because  you  have  to  pass  the  general  flesh-wash  over  it, 
which  has  the  effect  of  darkening  it  considerably.  For 


PHOTOGRAPH  PAINTING  IN  WATER  COLORS.  157 


the  purpose  of  softening,  it  will  be  as  well  to  have  two 
pencils  on  one  holder.  It  might  appear  that  putting  on 
the  color  of  the  cheek  at  once,  and  softening  it,  would 
suffice  ; but  you  will  get  it  far  softer  by  doing  it  with  a 
very  pale  tint  two  or  three  times,  than  you  possibly  can 
by  making  it  at  once  as  powerful  as  necessary ; besides, 
it  is  impossible  to  soften  a strong  color  so  well  as  a pale 
tint.  When  the  color  is  quite  dry,  go  over  the  whole  of 
the  face  with  the  flesh  tint,  then  put  in  the  hair,  eyes, 
eyebrows,  and  lips ; round  off  the  forehead  with  a gray, 
and  apply  the  same  to  those  parts  of  the  face  where  you 
observe  it  to  be  in  nature.  If  your  photograph  be  a very 
dark  one,  you  will  not  require  so  much  gray  in  it  as  if 
it  were  a light  impression ; next  wash  in  the  background, 
and  proceed  with  the  draperies,  etc. 

Return  now  to  the  face,  strengthen  the  carnations, 
grays,  and  shadows,  by  hatching  delicate  tints  over 
them ; put  the  light  in  the  eye  and  the  spirited  touches 
about  it  and  the  eyebrows,  mouth,  etc.,  and  flnish  off  the 
hair.  In  dark  photographs  you  will  require  to  lay  the 

* Hatching  is  that  effect  which  is  produced  by  the  crossings  of  the  pencil, 
after  you  have  given  to  the  head  all  the  larger  washes,  and  must  be  done  in  the 
manner  described  above.  To  an  inexperienced  eye,  hatching  assumes  the  ap- 
pearance of  a series  of  dots. 


158  PHOTOGRAPH  PAINTING  IN  WATER  COLORS. 


lights  on  the  hair  with  body  color,  as  it  is  generally  much 
darker  than  it  appears  in  nature.  Make  out  the  linen 
with  a gray,  deepening  it  in  the  darkest  parts,  and  lay  on 
the  high  lights  with  constant  or  Chinese  white.  Proceed 
next  to  shadow  the  drapery,  and  when  you  have  ob- 
tained the  required  depth,  scumble  in  the  high  lights, 
using  a bare  pencil  and  a very  gentle  hand,  as  before 
directed. 

Give  the  background  another  wash,  if  requisite,  and 
your  photograph  is  finished. 

If  there  be  metal  buttons,  chains,  or  epaulets,  they 
must  be  laid  over  the  dress  with  body  colors ; a very  good 
ground  for  them  is  red  chrome  and  gamboge,  shadowed 
with  burnt  umber,  and  hightened  on  the  lights  with 
lemon  chrome  and  Chinese  white. 

By  the  foregoing  method,  it  will  be  unnecessary  to 
hatch  or  stipple  a great  deal,  for  you  will  find  that  the 
face  will  come  out  very  soft  and  round  without  it ; but 
the  effect  is  far  inferior  to  that  produced  by  the  other 
process. 

Prepared  Ox-gall.  — It  is  necessary  to  have  a little  of 
the  above  preparation,  but  be  sparing  in  your  use  of  it. 
Too  much  of  it  in  the  colors  will  cause  them  to  sink 


PHOTOGRAPH  PAINTING  IN  WATER  COLORS.  159 


into  the  paper,  and  there  is  no  possibility  of  getting  them 
out  again,  nor  can  you  wash  over  the  parts  to  any  advan- 
tage. Ox- gall  can  only  be  of  use  in  the  first  coloring,  to 
kill  the  grease ; after  the  photograph  has  been  fairly 
covered  all  over,  there  can  be  little  to  apprehend  on  that 
point. 

When  the  paper  is  greasy,  and  you  find  a diffi- 
culty in  getting  a tint  to  run  smoothly,  rub  the  point 
of  your  pencil  on  the  gall,  and  mix  it  up  in  the 
color. 


Note. — Liquid  or  aniline  colors  are  sometimes  used  in  painting  plio- 
tograplis,  and  are  periodically  invented  and  largely  advertised  under 
some  new  and  high-sounding  name.  These  colors,  under  any  name, 
are  not  reliable,  and  will  not  stand  the  test  of  time. 


The  art  of  illumination  or  beautifying  text  or  manu- 
script by  coloring  and  ornamenting  the  letters,  or  deco- 
rating its  pages,  not  only  by  colored  letters,  but  with 
flowers,  birds,  in  fact,  almost  any  natural  object,  dates  back 
to  the  early  ages,  before  the  time  of  the  Reformation. 

This  beautiful  art  disappeared  about  the  seventeenth  cen- 
tury. Its  death-blow  was  received  when  the  printing-press 
was  invented,  spreading,  as  it  did,  books  printed  by  letter- 
press  and  doing  away  with  the  old  hand-painted  or  illumin- 
ated manuscripts  of  earlier  times.  The  most  beautiful  old 
specimens  of  illumination  were  to  be  found  in  monasteries. 


160 


ILLUMINATION. 


161 


The  monks  devoted  their  leisure  to  this  work,  and  pages 
are  still  extant  which  show  to  what  a height  this  art  was 
carried,  one  page  being  often  the  fruit  of  years  of  labor. 
We  do  not,  in  this  short  article,  profess  to  speak  of  illumin- 
ating as  it  was  done  then,  when  even  metals  rolled  to 
exceeding  thinness  were  applied  to  the  paper,  burnished  and 
worked  up  to  a wonderful  degree,  and  their  lustre  remains 
to  this  day  to  testify  to  the  thoroughness  and  beauty  of 
the  work.  To  illuminate  thus  one  must  be  an  artist  and 
love  the  art.  There  is  great  scope  for  originality  in  design- 
ing, coloring,  etc.,  but  without  any  particular  talent,  but 
with  good  taste  almost  any  one  may  become  proficient 
enough  to  add  not  only  to  his  own  pleasure  and  that  of 
others  by  the  beauty  and  taste  of  his  work,  but  it  may 
become  a matter  of  much  profit  to  him.  To  those  who 
have  learned  something  of  water-color  painting,  illumin- 
ating will  merely  be  a new  method  or  branch  in  which 
to  apply  what  they  already  know;  the  colors  used  being 
the  same,  and  the  treatment  of  them  being  similar,  so 
that  those  who  have  painted  at  all  in  water-colors  are 
quite  fitted  to  pursue  the  art  of  illuminating. 

The  materials  required  are:  for  a beginner,  water-color 
paper  of  firm,  close  texture,  or  bristol-board.  For  more 


162 


ILLUMINATION. 


advanced  artists,  vellum,  or  a kind  of  paper  which  has  a 
vellum  surface,  a box  of  water-colors,  ox-gall,  tracing 
paper,  some  fine  camel’s  hair  brushes,  principally  small 
sizes,  and  one  flat  brush  for  washing  over  large  surfiices 
with  ox-gall  or  body-white.  One  or  two  pens  such  as  are 
used  by  architects.  Lithographic  pens  will  be  found  use- 
ful for  making  fine  lines.  Some  gold  paint;  some  thumb- 
tacks; a drawing-board. 

The  first  thing  to  be  done  is  to  choose  your  design. 
Those  who  can  draw  may  make  original  drawings.  For 
those  who  cannot  draw  the  publishers  of  this  book  have 
prepared  designs.  Mottoes,  designs  for  book-covers,  bor- 
ders for  pages,  book-marks,  initial  letters,  etc.  These 
designs  are  accompanied  by  full  directions  for  coloring 
them,  and  are  all  ready  to  be  transferred  on  to  any  surface 
required.  They  have  the  advantage  of  giving  upon  your 
paper  a clear,  distinct  outline,  and  all  rubbing  out  is  thereby 
avoided.* 

Take  the  paper  or  vellum  and  dampen  it  a little  by 
laying  it  between  slightly  damp  cloths.  Then  lay  it  upon 
your  drawing-board  and  with  thumb  tacks  secure  the  four 
corners.  If  you  are  going  to  paint  upon  a long  strip  put 


* See  chapter  on  Transferring  Designs. 


ILLUMINATION. 


163 


in  as  many  thumb-tacks  as  are  necessary  to  hold  it  firmly. 
The  paper  should  be  wetted  more  thoroughly  than  the 
vellum.  Whether  you  make  your  own  design,  or  use  a 
transfer  design,  draw  with  a medium  hard  pencil  the 
outline  with  great  clearness  and  precision.  Avoid  rub- 
bing as  much  as  possible.  On  vellum  you  cannot  use 
rubber,  so,  unless  you  use  a transferring  design,  it  is  best 
to  make  your  drawing  first  on  thin  paper,  and  then  place 
under  your  design  some  impression  paper  between  your 
thin  paper  and  the  vellum,  then  go  over  the  lines  of  your 
design  with  a pencil.  Do  not  bear  upon  the  pencil,  and  do 
not  let  the  hand  rest  too  heavily  upon  the  paper,  which 
is  sensitive,  and  a slight  pressure  will  leave  a mark. 

The  surface  of  vellum  is  very  delicate,  and  the  slightest 
speck  of  dirt  shows  and  is  not  easily  removed.  Also 
vellum  has  a slight  greasiness  and  is  not  easy  to  work  ujion. 
To  prevent  this  before  drawing  in  your  design,  go  over  the 
surface  with  some  liquid  ox-gall  very  much  diluted  in 
water.  To  protect  the  surface  from  your  hand  while 
drawing  or  painting,  take  a piece  of  stiff  paper,  cut  it 
the  size  of  your  vellum,  lay  it  upon  your  vellum,  and  in  it 
cut  a round  hole  measuring  about  three  inches  across,  which 
hole  shall  be  placed  over  that  portion  upon  which  you  wish 


164 


ILLUMINATION. 


to  work,  and  through  this  you  may  paint,  moving  it  about 
as  desired.  Where  you  have  a large  surface  to  cover  with 
a wash  this  paper  may  be  dispensed  with  and  an  ordinary 
sheet  of  paper  laid  under  the  hand.  In  illuminating  the 
most  brilliant  colors  are  used,  therefore  when  possible  use 
your  bright  cake  colors  without  mixing,  and  never  mix 
more  than  two  colors,  as  otherwise  you  would  have  heavier 
and  more  subdued  tones  than  are  desirable. 

Colors  should  not  be  applied  thick  at  first,  or  they  will  not 
dry  evenly;  they  should  be  applied  thinly,  and  the  surface 
should  be  gone  over  several  times,  allowing  each  coat  to  dry 
before  applying  another.  To  insure  clearness  and  bril- 
liancy of  tints,  they  should  be  retouched  as  little  as  possi- 
ble ; above  all,  they  should  never  be  retouched  or  corrected 
while  drying,  as  they  thus  become  streaky  and  muddy, 
which  is  fatal  to  the  purity  of  color  for  which  illumination 
is  famed.  In  painting  different  tints  over  each  other 
(glazing),  water-color  megilp  is  very  useful;  it  fixes  the 
color  so  that  it  may  be  washed  over  freely,  and  it  increases 
the  depth  and  brilliancy  of  the  colors,  so  necessary  for 
illuminating  effect,  without  glazing  them  so  highly  as  gum. 

In  painting  on  vellum  white  must  be  mixed  with  a great 
many  of  the  colors  to  make  them  more  solid.  Where  you 


ILLUMINATION. 


165 


wish  to  have  white  you  must  paint  on  white,  as  the  ground 
tone  of  the  vellum  is  quite  yellowish,  and  would  not 
answer  if  merely  left  bare.  Gilding  is  very  profusely  used 
in  illumination.  It  is  used,  not  only  to  cover  large  sur- 
faces, such  as  the  background  of  a design,  but  also  in  the 
delicate  tracery  of  letters,  flowers,  etc.  This  gold  can  be  pro- 
cured and  used  like  any  other  water-color  paint.  After  one 
layer  has  dried  you  may  paint  on  another,  and  in  this  way 
successive  layers  until  the  gold  looks  quite  bright  and  solid. 

It  is  needless  to  suggest  the  number  of  subjects  to  which 
illumination  may  be  aj)plied.  Birthday  cards,  the  covers 
of  books,  postage-stamp  albums,  book-marks,  volumes  of 
poems,  may  be  rendered  almost  priceless  b}^  having 
their  pages  illuminated  richly  in  borders,  headings, 
nitial  letters,  etc.  Illuminating  on  other  materials  than 
paper  and  vellum  may  be  practised.  Satin  banner-screens 
illuminated  with  mottoes  or  initials  are  very  attractive. 
For  sizing  to  mix  with  water-color  for  painting  on  this 
material,  see  article  on  painting  in  water-colors  on  silk, 
satin,  etc).  All  these  designs  are  furnished  by  the  pub- 
lishers in  perforated  designs. 


Painting  on  Silk,  Satin,  Velvet,  and  Muslin,  with 
Water-Colors.  — The  reader  has  already  been  in- 
structed in  detail  in  Water-Color  Painting  on  Paper, 
and,  before  proceeding  to  practise  the  directions  given 
in  this  chapter,  we  wish  to  remind  him  that,  if  he  has 
well  followed  our  previous  instructions,  he  must  have 
learned,  in  a degree,  to  paint  in  water-colors  on  paper, 
and  now  he  is  only  called  upon  to  adapt  what  he  has 


166 


PAINTING  ON  SILK,  SATIN,  ETC. 


167 


learned  to  do  on  paper  to  another  material:  that  is,  he 
has  learned  how  to  put  his  colors  on  paper,  now  he  must 
learn  what  different  management  it  requ  ires  to  put  them 
on  silk,  satin,  etc.  In  the  following  pages  we  will  give 
information  concerning  the  different  processes  which 
it  is  done.  We  have  not  the  space  to  enumerate  all 
the  uses  to  which  painting  on  the  materials  mentioned 
may  be  put:  among  them  are  the  decoration  of  dresses, 
scarfs,  fans,  cushions,  sashes,  d’oylies,  tidies,  slippers, 
pianoforte  and  table-covers,  curtains,  screens,  valances, 
book-covers,  lamp-shades,  work-baskets,  parasols,  and  a 
hundred  other  things  which  will  readily  suggest  them- 
selves. The  processes  are  simple  and  easily  learned,  and 
do  not  demand  long  artistic  training  or  special  ability. 
A good  eye  for  color,  a steady  hand,  and  a fair  amount 
of  perseverance  are  all  that  is  required  to  insure  success. 

Materials. -—The  materials  required  in  addition  to 
what  have  been  given  for  painting  in  water-colors  on 
paper,  are — ^ Chinese  white.  This  may  be  had  in  pans, 
tubes,  or  in  bottles.  Gum-water  (gum-Arabic  dissolved 
in  water) ; glycerine,  ox-gall.  The  last  two  to  be  used 
very  sparingly,  and  not  at  all  if  the  colors  work  well 
without  them. 


168 


PAINTING  ON  SILK,  SATIN,  ETC. 


Transferring  desis^ns  which  have  been  mentioned  be- 
fore  in  these  pages,  can  be  made  to  take  the  place  of  a 
knowledge  of  drawing  in  painting  on  silk,  satin,  etc., 
as  well  as  in  ordinary  painting  in  water-colors.  Indeed, 
we  think  they  can  be  used  here  with  advantage  by  those 
who  can  draw,  as  they  will  save  much  time  as  well  as 
labor. 

Properties  of  the  Different  Mediums  Used.  — The 
mediums  used  with  water-colors  are  additions  necessary  to 
secure  their  perfect  adhesion  to  the  materials  on  which 
they  are  employed.  They  are  mixed  with  the  water  in 
which  the  brush  is  dipped  to  liquefy  the  colors,  and  each 
having  its  especial  property,  it  is  requisite  that  these 
properties  should  be  understood  in  order  that  they  may  be 
rightly  used  in  counteracting  the  defects  of  certain  colors, 
some  of  which  take  too  firm  a hold  on  the  fabric,  while 
others  do  not  sufiiciently  adhere  to  it. 

These  mediums  are  four  — glycerine,  gum  arabic, 
methylated  spirit  or  brandy,  and  ox-gall. 

Glycerine  may  be  used  with  advantage  if  the  colors  dry 
too  quickly,  as  it  retards  drying  considerably ; but  for  this 
very  reason  again  it  must  be  employed  sparingly,  one 
or  two  drops  in  a saucer  being  sufficient.  It  has  also 


PAINTING  ON  SILK,  SATIN,  ETC. 


169 


in  somrs  degree  the  property  of  preventing  the  work 
from  peeling  off  or  cracking,  by  giving  it  pliancy. 

Gum  arabic  is  useful  when  the  colors,  being  deficient 
in  adhesiveness,  rub  off.  Sometimes  also  moist  colors 
contain  too  much  glycerine,  and  will  not  dry;  this  being 
counteracted  by  a little  gum,  they  will  dry  more  quickly. 

Spirit  used  in  water-color  painting  has  properties 
opposite  to  both  gum  and  glycerine.  If  the  colors  are 
found  to  dry  too  hard,  a little  added  to  the  water  will 
correct  this  tendency  by  precipitating  the  superfluous 
mucilage ; and  a greater  quantity  used  in  the  same  manner 
will  make  them  dry  with  great  rapidity.  It  also  deadens 
the  colors  at  the  same  time  by  making  their  surfiice  dull, 
while  gum  and  glycerine,  by  making  it  shine,  will  bright- 
en them. 

Ox-gall  adds  little  brilliancy  to  the  colors,  but  used 
in  moderation  it  facilitates  their  flowing  from  the  brush, 
and  makes  them  spread  evenly  and  smoothly.  The  utmost 
care  however  must  be  taken  not  to  add  too  much  of  it  to 
the  water,  as  two  drops  will  be  quite  enough  for  a saucer ; 
and  in  too  large  a quantity  it  defeats  its  own  end,  as  by 
thickening  the  mucilage  it  makes  it  difficult  to  spread  the 
tints. 


170 


PAINTING  ON  SILK,  SATIN,  ETC. 


If  first-rate  colors  are  used  these  mediums  may  not  be 
required,  but  it  is  safest  to  have  them  at  hand.  They 
will  be  more  especially  wanted  with  Chinese  white, 
and  their  right  employment  is  of  so  much  importance 
in  this  case  that  no  time  is  lost  in  explaining  it  thoroughly, 
as  valuable  and  elaborate  work,  over  which  perhaps  hours 
have  been  spent,  may  thereby  be  saved  from  irreparable 
injury  by  the  colors  peeling,  rubbing  off,  or  cracking  in 
every  direction. 

General  Remarks.  Never  touch  one  color  with  another 
until  it  is  thoroughly  dry. 

Place  a sheet  of  tissue  paper  under  your  hand  while 
painting;  it  will  not  only  prevent  the  tracing  from 
rubbing  olf,  but  also  protect  the  work  from  spots  or 
marks. 

Carefully  avoid  soiling  your  fingers  with  the  colors. 

Always  keep  a piece  of  the  material  at  hand  during 
painting  to  try  the  effect  of  colors.  Bear  in  mind  that 
work  of  this  kind  cannot  be  done  carelessly  or  hurriedly  or 
without  due  knowledge. 

Let  it  be  remembered,  too,  that  lack  of  success  is  almost 
always  due,  not  to  the  incorrectness  of  the  instructions 
given,  or  to  faults  of  the  material,  but  to  not  knowing  how 


PAINTING  ON  SILK,  SATIN,  ETC. 


171 


to  work  to  advantage.  Knowledge  must  be  gained  from 
experience.  Even  the  most  san«:uine  should  not  expect  to 
perfectly  succeed  at  the  first  trial. 

Keep  your  work  at  a sufficient  height  to  avoid  stooping 
over  it.  You  will  thereby  save  yourself  much  fiitigue,  as 
it  requires  close  sight. 

Always  keep  two  glasses  of  water  for  your  brushes, 
one  for  the  final  rinsing,  as  they  must  be  thoroughly 
cleansed  from  one  color  before  they  touch  another. 

When  putting  away  your  brushes  clean  and  dry  them 
thoroughly,  smoothing  the  hairs  to  a point,  and  take 
care  that  the  are  not  bent  back,  as  it  spoils 

them. 

When  looking  at  paintings,  note  the  effects  of  colors, 
shades,  and  lights. 

Never  forget  that  there  is  always  room  for  improve- 
ment, however  well  satisfied  you  may  be  with  your 
work. 

Choice  of  Materials. — It  is  possible  to  use  coarse  and 
cheap  material  for  decoration,  but  it  is  by  no  means 
desirable.  Tlie  best  effects  are  produced  on  the  finest 
material,  and  it  would  be  a pity  to  waste  time  and  skill  on 
anything  else. 


172 


PAINTING  ON  SILK,  SATIN,  ETC. 


Silk  needs  to  be  plain,  of  close  and  firm  texture,  to 
produce  the  best  results.  Gros  grain  and  corded  silk 
require  more  careful  work,  and  even  then  it  cannot  be 
made  to  look  as  well  as  upon  plain  material. 

The  most  satisfactory  grounds  for  painting  on  are  white, 
cream-colored,  pale  blue,  or  gray.  The  tint  of  the  mate- 
rial should  always  harmonize  with  the  colors  of  the  flowers. 
A bright  red  or  scarlet  ground  would  neutralize  bright  tints 
of  the  same  color,  and  make  them  look  dull  and  dead. 
For  white  flowers,  black  (not  glace)  silk  gives  the  finest 
effect;  for  a mixture  of  white  and  colored  flowers,  a 
pale  shade  of  blue  gives  exquisite  results. 

Choice  of  Designs. — Nothing  is  more  fitting  or  looks 
prettier  in  this  style  of  decoration  than  flowers,  leaves,  and 
grasses. 

As  a rule,  for  the  decoration  of  dresses,  a design  that 
does  not  give  any  large  masses  of  color  is  best.  The  color 
of  the  material  has,  of  course,  much  to  do  with  the  choice. 
Tiny  bouquets  of  daisies,  some  perfectly  white,  and  others 
tipped  with  pink,  would  look  well  on  a gray  or  pale  blue 
material.  Fuchsias  would  look  well  on  the  trimming  of 
a dress  of  dark  or  light  satin.  Popples  and  corn,  dande- 
lions or  autumn  leaves  would  harmonize  with  a dark  green 


PAINTING  ON  SILK,  SATIN,  ETC. 


173 


or  black  ground.  Graceful  undulating  sprays  of  passion 
flowers  and  leaves,  or  lilies,  corn-flowers,  jasmine,  acorns 
and  leaves,  honeysuckle,  ivy,  blackberries  and  leaves, 
orange  blossoms,  sprays  of  forget-me-nots,  ferns,  and 
ash-berries,  all  can  be  'used  in  various  portions  of  the 
costume,  according  to  the  taste  of  the  artist.  For  other 
purposes,  such  as  screens,  curtains,  banners,  etc.,  a land- 
scape in  miniature,  a brightly-tinted  butterfly,  birds,  a sea- 
piece  with  white-sailed  ships,  a swallow  flying  over  water, 
or  branches  of  apple-blossoms,  all,  or  any  would  be  appro- 
priate designs. 

Painting  on  Silk.  — There  are  four  methods  of  painting 
on  silk.  That  formerly  used,  but  now  pretty  much  done 
away  with,  is  by  using  nearly  dry  water-colors  without 
any  preparation  of  the  material.  The  effect  is  delicate,  but 
the  process  requires  a good  deal  of  artistic  skill.  Second, 
the  silk  is  sized,  and  the  colors,  mixed  with  Chinese  white, 
are  laid  on  as  dry  as  possible.  Third,  the  tints  are  all 
made  by  the  addition  of  body  color,  without  sizing  or 
otherwise  preparing  the  material.  Fourth,  the  design 
is  laid  upon  a ground  prepared  with  Chinese  white.  We 
give  the  two  simplest  and  most  efiective  of  the  above 
processes. 


174 


PAINTING  ON  SILK,  SATIN,  ETC. 


First  Method.  The  silk  be  sized  with  either  of 

several  preparations,  which  are  here  described. 

1.  Beat  the  white  of  an  egg  to  a froth,  and  apply 
evenly  to  the  entire  surface  of  the  piece  of  silk  to  be 
painted. 

2.  Dissolve  a piece  of  alum  as  large  as  a hazel-nut,  with 
as  much  isinglass,  in  half  a pint  of  boiling  water. 

3.  Put  an  ounce  of  gelatine  or  isinglass  in  a cup,  with 
enough  cold  water  to  coA^er  it.  Let  it  soak  for  an  hour  and 
add  a pint  of  boiling  water. 

These  last  two  preparations  should  be  perfectly  clear 
and  free  from  either  grains  or  lumps.  Their  use,  it  must 
be  remembered,  destroys  the  lustre  of  the  silks  upon  which 
it  is  used.  They  should  be  applied  hot  with  a brush 
or  sponge. 

Before  the  silk  is  sized  it  should  be  pinned  smoothly  and 
tightly  to  a drawing-board,  with  a piece  of  thin,  white 
paper  underneath. 

The  brush  or  sponge  should  not  be  rubbed  back  and  forth 
over  the  silk,  but  drawn  smoothly  from  left  to  right,  going 
over  the  same  place  but  once,  yet  wetting  it  thoroughly. 

The  material  must  be  perfectly  dry  before  proceeding  to 
sketch  or  transfer  the  design  for  painting.  Upon  the 


PAINTING  ON  SILK,  SATIN,  ETC. 


175 


ground  so  prepared,  water-colors  may  be  used  without 
further  preparation.  They  must  be  very  carefully  handled, 
however,  with  as  little  moisture  as  possible,  and  every 
tint  used  should  be  allowed  to  dry  before  another  is 
put  on. 

Second  Method,  The  silk  should  be  stretched  upon  a 
drawing-board  precisely  as  in  the  former  instance. 

The  design  is  then  carefully  drawn  or  transferred  to  the 
material  in  outline. 

A quantity  of  Chinese  white,  mixed  with  water-color 
megilp  to  about  the  consistency  of  fresh  cream  is  then 
carefully  and  smoothly  applied  to  every  part  which  is  to 
receive  color,  so  that  when  it  is  dry  it  will  form  a founda- 
tion for  the  reception  of  the  different  tints.  It  should  not 
be  too  thick,  as  there  would  then  be  danger  of  its  cracking ; 
yet  it  must  completely  cover  the  design. 

When  this  coating  of  white  is  perfectly  dry,  the  colors 
may  be  laid  on.  They  should  be  as  dry  as  possible,  and 
care  should  be  taken  not  to  work  them  too  much.  They 
should  be  put  on  with  careful  touches  and  not  meddled  with 
afterwards.  In  this  way,  pure,  bright  tints  can  be  had, 
without  any  admixture  of  body  color. 

Third  Method.  A third  method,  practised  in  England, 


176 


PAINTING  ON  SILK,  SATIN,  P:TC. 


and  followed  to  some  extent  in  this  country,  claims  notice 
in  this  connection.  Very  good  work  has  been  done  by  it, 
but  it  is  more  “fussy  ” than  the  process  just  described,  and 
its  effects  are  hardly  as  brilliant.  The  method  is  as 
follows:  — 

All  the  colors  used  must  be  mixed  with  Chinese  white  in 
the  following  manner : — 

Place  a small  quantity  of  the  color  on  the  palette  by 
gently  squeezing  the  tube,  and  add  as  much  white  as  will 
make  it  of  the  deepest  shade  required.  Proceed  with  the 
color  so  mixed  to  fill  in  all  the  places  in  the  design  in 
which  it  is  to  appear. 

Next  add  as  much  more  white  as  will  bring  the  color  to 
the  second  shade,  and  lay  this  where  it  is  required;  let 
these  dry  thoroughly. 

Now  put  in  the  gradations  to  the  lightest  tint,  by  adding 
more  and  more  white  with  each  as  they  are  laid  on,  and 
finally  add  the  highest  lights  with  pure  white.  This  must 
be  done  cautiously,  as  too  much  white  will  make  the 
painting  look  chalky. 

The  painting  is  now  to  be  completed  by  the  addition  here 
and  there,  as  they  are  wanted,  of  strokes  and  touches  of  the 
colors  unmixed  with  white,  and  used  rather  dry.  These 


PAINTING  ON  SILK,  SATIN,  ETC. 


177 


will  give  depth  to  the  shadows,  and  as  the  effect  depends  on 
them  as  much  as  on  the  high  lights  they  must  be  put 
in  with  equal  care.  Too  many  will  make  the  work 
heavy,  but  at  the  same  time  with  too  few  it  will  look 
poor  and  flat;  and  it  must  not  be  forgotten  that,  the 
whole  coloring  being  opaque,  the  lights  are  reflected, 
not  transparent.  The  positive  tints  of  each  color  must 
be  seen  in  the  half-lights,  and  shadows  be  put  in  with  the 
complementary  colors. 

Painting  on  Satin. — Painting  on  satin  is  not  as  easy  as 
painting  upon  silk,  although  the  processes  are  very  similar. 
The  materials  should  be  of  the  finest,  and  very  closely 
woven,  and  there  should  be  no  knots  or  inequalities  in  the 
surface.  In  selecting  it,  hold  it  up  horizontally  between 
the  eye  and  the  light.  If  the  fiice  is  not  perfectly  smooth 
and  free  from  the  woolly  appearance,  which  is  often  seen  in 
poor  satin,  reject  it  at  once,  for  it  will  be  impossible  to 
secure  good  effects. 

Satin  should  never  be  wetted  or  sized.  If  the  matei-ial  is 
dark  or  tinted  a preliminary  ground  of  Cliinese  white 
should  be  laid  on,  as  already  described,  to  form  a light 
background  for  the  color.  On  white  satin  it  is  not 
necessary. 


178 


PAINTING  ON  SILK,  SATIN,  ETC. 


Painting  on  Muslin.  — Painting  on  muslin  is  done  in 
precisely  the  same  manner  as  painting  on  silk,  only  far  less 
care  is  required,  and  as  a consequence  the  work  may  be 
done  with  greater  rapidity.  Any  kind  or  color  of  material 
may  be  used,  although  white  is  preferable. 

As  sometimes  pieces  of  a yard  or  two  in  length  are 
used,  the  ordinary  drawing-board  is  dispensed  with,  and 
a piece  of  smooth  pine  board  of  convenient  length  sub- 
stituted. This  is  first  covered  with  white  paper,  and 
over  it  the  material  is  tightly  and  evenly  stretched. 

The  design  is  then  transferred  by  means  of  the  per- 
forated patterns,  or  drawn  in  with  a pencil,  A foundation 
of  Chinese  white  is  then  laid  on.  While  it  is  moist,  the 
lower  part  of  the  material  should  be  loosened  from  the 
board,  and  the  pattern,  so  far  as  finished,  lifted  up  so  that 
what  has  come  through  shall  not  adhere  to  the  paper. 

Hold  the  material  by  each  side  up  from  the  board 
until  it  dries,  taking  care  meanwhile  to  keep  it  stretched 
between  the  two  hands,  so  it  will  not  cockle  when  dry. 
The  material  may  then  be  again  laid  upon  the  board 
and  stretched  as  before,  and  the  work  proceeded  with. 

When  the  foundation  color  is  laid  on  and  dried,  the 
details  may  be  worked  in  in  color,  as  in  the  other 
processes. 


PAINTING  ON  VELVET. 


Though  velvet  is  a textile  fabric,  it  differs  from  silk 
and  satin,  inasmuch  as  the  latter  have  a smooth  surface 
to  receive  the  color  upon,  and  velvet  has  a thick  pile, 
into  which  it  sinks.  In  painting  on  silk  and  satin  the 
beauty  of  the  work  depends  mainly  on  the  brightness  of 
the  lights,  and  in  painting  on  velvet  on  the  depth  and 
softness  of  the  tints;  and  while  in  one  case  our  care  is 
exercised  in  keeping  the  paint  laid  on  from  cracking,  in 
the  other  it  is  chiefly  taken  to  prevent  the  pile  from  be- 
coming matted. 

Velveteen,  or  cotton  velvet,  as  it  has  a shorter  pile, 
is  better  adapted  to  receive  wet  color  than  silk  velvet, 
but  a practised  hand  will  be  able  to  paint  on  silk  velvet, 
and  even  plush  also.  The  old-fashioned  velvet  painting 
was  all  done  on  white  velveteen,  but  cream-colored  or 
pale  blue,  or  indeed  any  light  tint,  makes  a better  ground 
than  dead  white.  Dark  or  black  velvets  will  show  in 
the  colorifig,  and  it  is,  of  course,  impossible  to  cover  the 
dark  ground  with  Chinese  white,  which  would  mat  the  pile. 

The  material  being  chosen,  it  is  pinned  out  on  the 


179 


180 


PAINTING  ON  VELVET. 


board  like  any  other  fabric,  but  not  sized.  The  outline 
must  not  be  drawn  with  a pencil,  as  it  would  make  deep 
indentations,  but  it  is  pricked  out  on  paper,  and  being 
secured  at  the  corners  to  prevent  its  slipping,  powder 
is  sifted  through  the  holes  on  the  velvet.  It  is,  however, 
far  better  if  the  artist  is  sufficiently  skilled,  to  commence 
the  work  without  any  outline  at  all. 

The  painting  must  now  be  commenced.  The  brushes 
used  are  balled  scrubs,  and  they  are  made  of  bristles, 
perfectly  round,  and  cut  off*  even  at  the  ends,  not  pointed 
as  water-color  brushes  are.  Three  will  be  required. 

The  best  moist  colors  maybe  used;  with  just  sufficient 
spirit,  either  hartshorn,  sal  volatile,  or  spirits  of  wine, 
added  to  make  them  work  in  the  brush.  Some  artists 
use  powder  colors,  moistened  in  the  same  way,  but  they 
are  not  necessary.  It  must,  however,  be  remembered  that 
much  wet  will  destroy  the  pile,  and  that  bright  colors  are 
necessary,  as,  the  velvet  absorbing  them,  they  always  look 
duller  than  on  silk  or  paper.  But  no  gum  must  be  mixed 
with  them. 

There  must  be  a sheet  of  tissue-paper  in  readiness  to 
rest  the  hand  upon  and  to  cover  all  the  velvet  excepting 
the  part  to  be  painted,  and  the  colors  being  mixed,  the 


PAINTING  ON  VELVET. 


181 


scrub  is  dipped  well  into  it,  and  allowed  to  drain,  so  that 
every  part  is  full  of  color,  but  not  dripping.  It  is  used 
upright,  and  taken  back-handed,  coming  out  between  the 
third  and  fourth  fingers,  as  it  is  held  by  the  Chinese,  and 
thus  brushed  over  every  part  of  the  design  where  the 
color  in  it  is  required.  This  must  not  be  touched  again 
until  it  is  dry ; but  a second  scrub  meanwhile  may  be  filled 
with  another  color,  and  the  work  proceeded  with. 

The  tints  will  probably  all  look  very  dull,  arid  when  they 
are  thoroughly  dry,  they  must  be  brushed  over  again. 
As  the  coloring  is  from  light  to  dark,  and  not,  as  in  body- 
color  painting,  from  dark  to  light,  the  first  shades  laid  in 
must  be  the  lightest,  the  second  the  next  darkest,  and  so 
on,  until  as  many  coats  have  been  given  as  necessary. 
It  gives  transparency  to  the  edges  of  the  petals  of  flowers 
if  the  second  coat  ends  just  inside  the  first.  To  give  minute- 
ness of  detail  is  impossible  in  painting  on  velvet;  the  effect 
aimed  at  must  be  depth,  softness,  and  richness  of  tone. 
Small  markings  must  be  put  in  with  the  side  of  the  scrub. 

It  is  better  to  put  all  of  one  color  in  at  once,  leaving 
others  to  be  painted  afterwards,  and,  between  using  the 
various  colors,  the  scrub  must  be  well  rinsed  in  water 
and  dried. 


182 


PAINTING  ON  VELVET. 


Some  artists  think  that  definiteness  of  outline  is 
secured  by  the  use  of  what  are  called  “Formulas,”  or 
“Theorems,”  which  are  designs  cut  out  and  laid  on  the  vel- 
vet, the  color  being  brushed  through  the  openings.  Any 
painter  can  make  these  for  himself  by  drawing  his  de- 
signs on  paper,  and  then  carefully  cutting  out  all  inside  the 
outline ; keeping  the  cut  edge  true  and  smooth.* 

All  painting  on  velvet  is,  from  the  texture  of  the 
material  and  the  softness  of  the  tints,  well  suited  for 
representing  flowers,  butterflies,  and  some  small  birds; 
but  it  is  equally  unsuitable  for  anything  beyond  the 
merest  suggestion  of  landscape  as  an  accessory  to  the 
birds  or  the  butterflies;  the  painter  who  attempts  it, 
therefore,  will  find  his  time  and  patience  completely 
thrown  away. 

The  following  article  on  “Theorem  Painting,”  which 
appeared  in  a former  edition  of  “ Art  Recreations,”  seems 
to  be  directions  for  doing  the  same  stylo  of  painting  on 
velvet,  and  as  it  contains  some  information  not  given  in 
the  previous  instructions,  we  will  give  our  readers  the 
benefit  of  it. 

* See  chapter  on  Theorem  Painting,  which  gives  full  directions  how 
to  make  these. 


THEOREM  PAINTING. 


This  style  of  painting  is  done  under  several  names,  viz., 
Theorem  Painting,  Poonah  Painting,  Oriental  Painting, 
Formula  Painting,  Stencilling,  etc.  It  is  better  adapted 
to  fruits,  birds,  and  butterflies,  than  to  landscapes  and 
heads.  It  will  enable  you  to  paint  on  paper,  silk,  velvet, 
crape,  and  light-colored  wood. 

To  Make  Horn  Paper.  — Take  equal  parts  of  copal, 
mastic,  and  Japan  varnish;  add  to  the  mixture  half  as 
much  balsam  of  fir  as  there  is  of  either  of  the  var- 
nishes, and  a piece  of  white  wax  the  size  of  a thim- 
ble; simmer  these  together  till  the  wax  is  melted.  If 
the  composition  is  too  thick,  add  a little  spirits  of  tur- 
pentine. Put  it  upon  one  side  of  the  paper  while  it  is 
warm,  the  paper  having  been  previously  prepared  with 
painter’s  oil,  to  make  it  transparent;  the  oil  must  be 
put  upon  both  sides  of  the  paper,  rather  warm,  and  the 
whole  of  the  paper  lie  together  one  night;  then  wiped 
with  a cloth  to  absorb  the  oil  on  the  surface,  and  dried 
one  week  in  the  sun  before  varnishing.  Each  side  of 


183 


184 


THEOREM  PAINTING. 


the  paper  must  be  varnished  twice,  and  the  greatest 
care  taken  to  dry  it  well. 

Trace  the  picture  you  intend  to  copy  on  white  paper, 
witli  a soft  lead  pencil,  then  mark  those  parts  which  do 
not  touch  each  other  with  a figure  1.  Lay  the  horn 
paper  over  the  sketch,  and  trace  witli  a sliarp-pointed 
penknife,  or  large  pin,  all  the  objects  marked  1.  Mark 
another  piece  of  horn  paper  for  theorem  2,  and  cut  again; 
thus  continue  till  you  have  enough  theorems  cut  for  your 
whole  picture.  Of  course,  it  will  require  much  more  time 
to  cut  a set  of  theorems  nicely,  than  it  would  to  draw  one 
picture;  but  remember  that  a good  set  of  theorems  is 
equal  to  twenty-five  or  thirty  sketches.  The  durability 
of  your  theorems  will  depend  upon  the  care  with  which 
you  treat  them. 

Do  not  attempt  to  paint  with  less  than  a dozen  stiff 
brushes,  because  you  must  have  one  for  every  color  you 
need  to  use.  Put  a few  drops  of  water  on  your  palette  with 
the  end  of  the  brusli,  to  avoid  dipping  the  bristles  in  water. 

Lay  the  theorem  on  the  paper  on  which  you  intend  to 
paint.  (Good  drawing  paper  is  best  for  the  first  attempt.) 
Press  the  theorem  firmly  down  with  weiglits  at  each  corner, 
and  proceed  to  paint. 


THEOREM  PAINTING. 


185 


Commence  with  a leaf ; take  plenty  of  paint,  a very 
little  moist,  on  your  brush,  and  paint  in  the  cut  leaf  of 
the  theorem;  hold  the  brush  upright,  and  manipulate 
quickly  with  a circular  motion.  It  is  best  to  begin  at 
a little  distance  from,  and  work  toward  the  edge ; if  you 
take  just  enough  paint,  it  goes  on  softly  and  smoothly; 
if  too  much  it  looks  dauby;  if  too  little,  spotted. 

To  shade  tlie  leaves,  cut  bits  of  horn  paper  on  the 
edge,  in  the  form  of  the  large  veins,  and  laying  on  the 
leaf  already  painted,  paint  from  this  edge  into  the  leaf ; 
slip  the  paper,  and  paint  other  veined  parts  in  the 
same  way. 

If  successful  with  a leaf,  try  a grape.  We  paint  first 
purple,  then  blue,  and  finish  off  with  carmine. 

On  removing  the  last  of  your  theorems,  if  you  see  any 
inequality  in  the  painted  parts,  lay  the  theorem  on  again 
and  correct;  if  any  spaces,  fill  up  by  dotting  in  with  a 
fine  brush.  All  stalks,  fibres,  dots,  etc.,  must  be  put  in 
with  camel’s  hair  pencils. 

In  many  parts  of  a painting,  the  effect  is  heightened 
by  striking  on  paint  here  and  there  with  the  stiff  brush, 
and  blending  the  edges  together  to  produce  softness. 

This  style  of  painting  is  well  adapted  for  painting  on 


186 


THEOREM  PAINTING. 


wood,  velvet,  silk,  satin,  crape,  etc.  Directions  have  al- 
ready been  given  fully  in  tlie  chapter  on  this  subject,  but 
we  rehearse  them  briefly  here : — 

To  Paint  on  Wood.  — Choose  hard  wood,  of  light 
color ; paint  as  above,  and  varnish  when  done. 

To  Paint  on  Velvet.  — Select  firm,  white  cotton 
velvet.  Use  the  paints  a little  more  moistened. 

To  Paint  on  Silk,  Satin,  and  Crape.  — Size  the 
parts  to  be  painted  with  gum  arabic,  or  isinglass  (see 
“properties  of  the  different  mediums  used,”  in  chapter 
on  painting  in  water  colors  on  silk,  satin,  etc.),  and  pro- 
ceed as  with  drawing  paper.  We  have  seen  ball  dresses 
painted,  with  belts  and  neck  ribbon  to  match;  also  white 
crape  dresses,  with  vines  of  gold  and  silver.  See  article 
upon  “Gilding.” 


PAINTING  IN  WATER-COLORS  ON  WOOD. 

Those  of  our  readers  who  have  practised  the  lessons 
which  we  have  given  for  Water-Color  Painting,  will  be 
able  to  paint  on  wood. 

The  same  sizing  is  used  to  prepare  the  wood  before 
painting,  as  is  recommended  in  silk-painting. 

White  holly  wood  is  generally  chosen.  It  should  be 
close  in  grain,  so  as  to  give  a very  fine,  smooth  surface. 

.i 

The  outline  of  the  design  should  be  first  drawn  in  pencil. 
The  artist  should  not  attempt  to  put  on  a large  even 
wash  of  any  one  color,  as  it  will  be  very  streaky  unless 
so  light  as  to  be  almost  imperceptible;  for  instance,  a 
very  pale  brown  for  a backgi'ound  to  relieve  white 
figures.  All  white  parts  should  be  painted  with  white, 
as  the  wood  is  not  white  enough  to  leave  as  a substitute. 

Almost  any  subject  is  appropriate  for  painting  on  wood, 
figures,  landscapes,  or  fine  conventional  designs  to  imi- 
tate inlaying,  done  in  colors  to  represent  different  woods. 


187 


188 


PAINTING  IN  WATP:k-COLOKS  ON  WOOD. 


etc.  To  those  who  cannot  draw,  or  wish  variety  in  their 
designs,  the  perforated  patterns,  such  as  are  used  for  the 
silk,  are  recommended,  as  it  is  difficult  to  make  clear  out- 
lines in  pencil  without  some  rubbing  out,  which  injures  the 
texture  of  the  wood  very  much  for  laying  on  the  color. 
An  infinite  variety  of  articles  may  be  made,  of  the  same 
description  and  general  style  as  those  suggested  in  the 
article  on  drawing  on  wood.  After  your  article  is  painted, 
to  preserve  it  from  dirt,  dust,  etc.,  put  a very  thin  coat  of 
white  shellac  over  it.  You  may  afterward  rub  this  down 
with  a fine  rag  wet  with  linseed  oil  and  dipped  in  rotten 
stone.  This  will  polish  it. 


PAINTING  IN  WATER-COLORS  ON  MARBLE. 

A SMOOTH  piece  of  unpolished  white  or  delicately  tinted 
marble  makes  a very  pretty  paper-weight.  Any  stone- 
cutter will  make  one  of  the  desired  size.  The  paints 
should  not  be  put  on  very  wet,  as  they  will  spread.  Draw 
your  design  first  very  lightly  with  a pencil,  as  rubbing 
out  makes  the  marble  smutty.  The  perforated  patterns 
may  be  used.  If  the  pencil  marks  are  rubbed  off,  it 
should  be  done  with  a damp  sjionge,  and  then  wiped  with 
a clean,  dry  rag.  A little  soap  may  be  used.  Do  not 
have  your  paints  too  wet  — not  using  sizing  unless  it  is 
found  that  the  colors  run,  as  they  will,  on  some  mar- 
bles. Then  proceed  to  paint  in  water-color  as  directed 
in  previous  chapters  on  other  materials.  Birds,  flowers, 
landscaj)es,  marine  views,  figures,  etc.,  may  be  also  painted 
on  this  material.  By  working  very  carefully,  you  may 
also  draw  with  a pen  and  india  ink  or  sepia,  upon  marble. 
Be  careful  not  to  have  too  much  ink  in  your  pen. 


ISO 


TAPESTRY  PAINTING. 

The  existence  of  tissues  in  imitation  of  paintings, 
made  by  the  combination  of  many-colored  threads,  has 
been  traced  back  to  the  remotest  ages  — to  the  time  of 
Babylon.  The  Greeks  and  most  of  the  eastern  nations 
possessed  the  art  of  making  them.  In  the  earliest  portion 
of  the  middle  ages  we  hear  of  these  tissues,  or  tapestries. 
They  were  woven  or  emoroidered  by  hand,  at  first,  by  the 
noble  ladies  and  by  the  monks  and  nuns,  but  were  so 
prized  and  sought  after  that  manufactories  were  estab- 
lished, skilled  designers  and  workmen  secured,  and  the 
result  was  that  ever  since  no  hangings  have  been  prized 


190 


TAPKSTKY  PAINTING. 


191 


as  highly  or  are  as  rich  and  beautiful  as  the  tapestry  hang- 
ings dating  back  into  the  Middle  Ages,  and  still  ably  repre- 
sented by  the  Gobelins,  Beauvais,  and  Savonnerie  manu- 
factures, which  at  present  represent  the  most  advanced 
phase  of  tapestry  fabrication  in  point  of  beauty  of  eflfect. 
These  tapestries  are  fabulously  expensive,  and,  much 
as  many  may  desire  them,  they  can  be  purchased  by 
only  a few.  This  led  to  the  idea  that  something  re- 
sembling tapestry  could  be  produced  by  means  of  paints 
upon  canvas  prepared  for  that  purpose.  This  idea  is 
not  new,  however,  but  dates  back  to  the  fifteenth  cen- 
tury, some  examples  still  being  in  existence.  This  in- 
vention is  a boon  to  architects,  decorators,  etc.,  and 
also  to  amateurs,  who  in  this  way  can  have  painted 
hangings,  possessing  all  the  merits  of  tapestry,  at  a com- 
paratively slight  cost,  and  at  the  same  time  can  have  the 
pleasure  of  painting  them  themselves.  The  process  is 
very  simple,  and  we  have  endeavored  to  render  it  within 
the  reach  of  all  by  our  method  of  giving  the  following 
directions.  Tapestry  painting  consists  in  drawing  a de- 
sign on  the  tapestry  cloth  in  charcoal  and  then  coloring  it 
with  liquid  colors,  applied  with  a brush,  very  much  as  in 
water- color  painting.  In  fact,  to  one  who  has  painted 


192 


TAPESTRY  PAINTING. 


in  water-colors,  tapestry  painting  will  be  very  easy,  for 
it  is  almost  exactly  like  it,  the  colors  being  diluted  with 
water  and  applied  with  brushes  in  very  much  the  same 
way.  The  names  of  the  colors  correspond  very  nearly  to 
those  of  water-color  paints,  and  the  same  colors  combined 
give  the  same  results.  Those  who  can  draw  may  draw 
their  own  designs,  — flowers,  conventional  designs,  figures, 
birds,  landscapes,  etc.,  either  making  a copy  or  an  original 
sketch.  For  those  who  cannot  draw  we  have  designs  all 
prepared  to  transfer  immediately  to  the  cloth  in  all  these 
styles.  These  will  be  found  much  better,  even  by  those 
who  can  draw,  as  they  transfer  the  lines  clearly  and  cleanly 
upon  the  cloth,  which  is  a very  necessary  item.  The  list 
of  articles  is  as  follows : — 

Tapestry  Canvas.  — This  should  be  kept  from  the  dust 
when  not  in  use,  and  be  shaken  or  beaten  before  using,  for 
dust  dulls  the  colors.  Our  experiments  were  made  on 
No.  19. 

A Stretching-Frame.  — A good  size  for  ordinary  work 
is  three  feet  three  inches  by  one  foot  four  inches.  It  is  made 
of  pine,  like  a picture-frame,  about  three  inches  wide,  and 
bevelled  down  from  the  outer  edges  so  that  the  canvas, 
when  stretched  upon  it,  only  touches  at  the  outer  edge.  A 


TAPESTRY  PAINTING. 


193 


stretcher  may  be  made  any  size  required,  however.  When 


it  exceeds  a yard  i; 
cross-pieces. 

C< 

BLUES. 

Cobalt. 

Turquoise  Blue. 
Ultramarine. 
Prussian  Blue. 
Indigo. 

BROWNS. 

Sepia. 

Raw  Umber. 

Cassel  Earth. 

Burnt  Sienna. 


width  it  should 


LORS  (LIQUI 

Red  Brown. 
Vandyke  Brown. 

PURPLES. 

Violet  (bluish). 
Purple  Violet. 

REDS. 

Carmine. 

Rose  Madder. 
Carmine  Lake. 
Vermilion. 

Red  Lead. 


strengthened  witli 


). 

GREENS. 

Vegetable  Green. 
Emerald  Green. 
Prussian  Green. 
Sap  Green. 

Olive  Green. 

YELLOWS. 

Chrome. 

Golden  Yellow. 
Cadmium. 

Raw  Sienna. 


These  are  all  that  are  necessary  for  ordinary  work.  For 
those  who  make  an  extended  study  of  the  subject  some 
other  colors  might  be  added  to  the  list  as  they  feel  the  need 
for  them.  Pearl-ash  and  picric  acid  are  also  used,  the  for- 
mer to  remove  color  sometimes;  the  latter,  on  which  water 
is  poured,  gives  a solution  to  use  in  mixing  colors  and  for 
washes. 

Pots. — A few  pots  of  porcelain  or  glazed  earthenware 
are  necessary.  Never  use  metal,  as  it  affects  the  colors. 
A couple  of  them  are  for  holding  water  to  wash  the 


194 


TAPESTRY  PAINTING. 


brushes,  and  others  for  clean  water  to  mix  your  colors  or 
thin  tliem  when  required,  etc. 

Bottles.  — Clear  glass  bottles,  with  glass  stoppers.  The 
stoppers  should  be  rubbed  with  grease,  or  they  may  stick 
These  are  for  mixing  your  colors  in.  As  your  colors  accu- 
mulate, the  more  bottles  you  will  need,  for  you  will  often 
want  many  shades  of  the  same  color  (and  although  you 
can  dilute  a color  thus:  if  dark  blue  is  left  in  a bottle 
make  it  blue  by  the  addition  of  water;  still  you  can 
only  do  thus  when  you  are  quite  through  with  using  your 
dark  blue).  These  bottles  should  have  large  necks,  so  that 
you  can  dip  your  brushes  into  them  easily,  and  should  not 
generally  be  more  than  four  inches  high.  After  you  have 
mixed  your  colors  in  the  bottles  it  is  as  well  to  label  them 
immediately  with  the  name  on  a strip  of  paper  gummed  to 
the  bottle,  as  some  of  the  colors  look  so  differently  when 
mixed  in  the  bottles  from  what  they  do  on  the  canvas ; thus 
raw  umber  and  raw  sienna  are  apt  to  look  green  when 
mixed  with  water.  Name  the  colors  as  most  convenient  to 
yourself,  either  the  mixture,  thus:  turquoise,  a little 
chrome,  and  a little  raw  umber;  or,  “dull  olive  green.” 
These  supplies  are  good  to  have  on  hand,  as,  when  you 
have  them,  the  next  time  you  paint  you  will  be  all  pre- 


TAPESTRY  PAINTING. 


195 


pared.  Keep  them  tightly  corked  when  not  in  use.*  The 
same  colors  may  also  be  used  for  painting  photographs. 

A Box.  — Several  boxes  have  been  invented,  in  different 
styles.  For  those  who  do  not  care  to  go  to  much  expense, 
a box  to  hold  the  bottles  is  enough.  They  are  very  apt  to 
tip  over  when  you  dip  in  your  brush  if  they  sit  about  on  a 
table,  and  as  the  color  stains  it  is  rather  risky.  A square 
box  large  enough  to  hold  the  colors  in  use,  divided  into 
squares  large  enough  to  hold  a bottle  each,  made  by  inter- 
secting partitions,  with  or  without  a cover,  is  very  con- 
venient. The  name  of  each  color  you  may  print  with  ink 
beside  the  bottle  upon  the  upper  edge  of  the  partition. 

Brushes.  — Three  medium  length  camel’s  hair  brushes 
of  different  sizes,  for  fine  and  outline  work. 

Six  short-hair,  round,  bristle  brushes  of  various  sizes 
to  lay  on  flat  tints. 

Six  tapestry  brushes  (made  on  purpose  for  this  work) 
for  large  washes,  skies,  etc.  These  brushes  should  be  as 
hard  as  possible  when  new,  and  they  will  improve  by  use 
One  set  of  brushes  should  be  kept  for  each  line  of  colors  — 
one  for  gi'eens,  one  for  blues,  one  for  browns,  one  for  reds, 

* For  price  lists  and  further  information  apply  to  F.  W.  Devoe  & Co., 
New  Y'ork. 


196 


TAPESTRY  PAINTING. 


one  for  yellows.  These  brushes,  while  you  are  using 
them,  should  be  allowed  to  stand  in  a pot  of  water.  It 
washes  the  color  out  of  them,  as  soon  as  you  have  used 
them.  Renew  this  water  often.  If  you  put  on  any  dark 
colors,  and  find  it  hard  to  get  the  brushes  clear  of  this 
color,  alcohol  will  cleanse  them.  The  brushes  should  be 
kept  in  a long  box  to  keep  them  free  from  dust  when  not 
in  use. 

Sponges.  — Two  small  sponges  of  close  texture  are  re- 
quired, one  to  wash  out  color  on  the  canvas  when  neces- 
sary, one  for  wiping  the  brushes. 

A Mahl-Stick  to  rest  the  hand  on  is  needed.  Any 
liglit,  straight  stick  will  do  if  you  have  no  regular  mahl- 
stick.  Let  the  upper  end  rest  on  the  frame,  and  hold  the 
lower  end  in  your  left  hand.  It  will  serve  to  support  your 
right  wrist  upon,  and  you  will  not  be  obliged  to  rest  your 
hand  directly  on  the  canvas  while  drawing. 

Thumb  Tacks,  or  ordinary  tacks,  are  needed  to  tack 
your  canvas  on  the  stretcher. 

You  will  now  stretch  the  canvas  on  the  frame.  If  you 
have  a large  design,  the  size  of  your  frame,  cut  your  can- 
vas the  requisite  size  and  tack  it  securely  to  the  frame, 
drawing  it  over  the  edge  and  tacking  it  along  the  under 


TAPESTRY  PAINTING. 


197 


side,  not  on  the  upper  surface.  Be  very  careful  not  to  skew 
your  canvas,  but  have  the  ribs  or  cords  of  the  material 
perfectly  straight  and  even.  Do  not  stretch  it  too  tightly, 
or  you  must  allow  for  shrinkage  after  it  has  been  wet 
with  the  paints. 

Sliould  you  wish  to  make  a small  design,  smaller  than 
your  frame,  you  may,  if  you  wish,  stretch  a whole  piece 
of  canvas  the  size  of  your  frame,  and  paint  only  that  por- 
tion which  you  require  for  your  small  design.  If,  how- 
ever, your  pieces  are  already  cut  small,  you  may  stretch 
them  across  the  narrowest  part  of  the  stretcher  and  tack 
them;  then  with  a large  needle  and  some  carpet-thread 
you  may  fasten  it  at  the  side  or  sides  as  in  the  picture. 
The  ribs  of  the  cloth  look  better  if  they  run  across  from 
side  to  side  of  your  design. 

Oilding  is  sometimes  used  with  very  brilliant  effect  in 
tapestiy.  Sometimes  the  background  is  gilded  to  look 
like  cloth-of-gold. 

Size  the  part  to  be  gilded  with  gold  size,  and  then  dust 
gold  powder  over  that  part  with  a camels’  hair  brush. 
When  dry  blow  off  the  superfluous  gold  dust. 


POTTERY  DECORATION. 


Perhaps  the  simplest  and  most  easily  acquired  form  of 
pottery  decoration  is  the  ornamentation  of  terra-cotta  ware, 
that  is,  the  common  red  pottery,  such  as  flower-pots  and 
cooking  utensils  are  made  of.  It  can  be  decorated  with  oil 
or  water  colors,  does  not  require  baking  to  hold  its  decora- 
tion, and  when  completed  is  very  pretty,  and  may  be  useful. 

It  will  be  our  endeavor  to  give  clear  and  thorough  in- 
structions in  the  first  step,  because,  — 

First.  Any  one  without  previous  instructions  in,  or 
knowledge  of,  drawing  and  painting,  may  be  able  to  pro- 
duce quite  artistic  ornaments  in  pottery  decoration. 


198 


POTTEKY  DECOKATIOX. 


199 


Second.  Careful  and  attentive  practice  in  the  first  step 
will  prepare  the  pupil  to  advance,  without  further  instruc- 
tions than  he  will  have  gained  by  such  practice. 

Third.  Practice  in  these  lessons  may  be  had,  as  we  shall 
show,  at  a trifling  expense,  and  will  prepare  the  pupil  to 
take  up  any  form  of  decorative  art. 

The  materials  required  are  inexpensive,  viz. : — 

A hard  lead  pencil ; 

A common  four  or  six-inch  flower-pot; 

Some  fine  sand-paper,  and 

“ The  Platform,”  which  we  will  show  an  illustration  of, 
and  describe  further  on. 

With  these  simple  materials  the  pupil  may  practise 
weeks  and  months  with  no  further  expense,  because,  when 
the  flower-pot  is  covered  with  pencil  marks,  the  sand-paper 
will  rub  it  clean  again. 

The  amateur  will  understand,  that  before  decorating  a 
vase  witli  paint,  it  will  be  advisable  for  him  to  draw  his 
design  on  the  vase  with  a pencil.  This  will  give  guide 
lines  to  work  by,  which  the  painting  will  cover,  but  we 
wish  him  to  practise  sufficiently  with  pencil  and  flower-pot 
in  the  first  place,  so  that  when  he  shall  attempt  to  decorate 
a vase,  he  will  be  successful.  There  will  be  no  sand-paper 


200 


POTTERY  DECORATION. 


then  to  fall  back  upon  to  remedy  errors,  because  a teiTa- 
cotta  vase,  although  made  of  the  same  material,  is  so  much 
finer  in  texture  and  finish,  that  sand-paper  would  ruin  it. 

After  we  have  laid  out  a course  of  practice  lessons  for 
lead  pencil  work,  we  will  show  how  paint  may  be  used. 


The  cut  here  figured  illustrates  itself.  It  has  a movable 
bar,  held  in  place  by  a screw,  and  is  fitted  to  hold  ’a  lead 

* Supplied  by  S.  W.  Tilton  & Co.,  Boston.  Price,  50  cents;  or  75 
cents,  if  sent  by  mail. 


POTTERY  DECORATION. 


201 


pencil.  It  was  invented  expressly  for  drawing  bands  and 
lines  around  terra-cotta  vases.  By  adjusting  the  movable 
bar  in  any  position  desired,  a vase  may  be  divided  into  sec- 
tions by  lines  and  bands,  which  may  be  filled  in  solid  with 
paint  or  with  simple  and  easy  figures. 

The  first  lesson  will  be  to  draw  a series  of  bands  around 

the  vase  or  flower-pot,  as 

seen  in  figure  1.  Sharpen 

and  keep  a fine  point  on 
!•  the  pencil,  which  must 

be  very  hard,  as  the  gritty  surface  of  the  flower-pot  would 
wear  down  a soft  pencil  too  rapidly,  and  prevent  one’s 
getting  fine  and  delicate  lines.  Place  the  flower-pot  on 
the  platform ; then  arrange  the  bar  so  that  the  point  of  the 
pencil  will  touch  the  flower-pot  where  the  line  is  to  be 
drawn;  revolve  the  pot  slowly,  with  the  point  of  the  pencil 
pressing  against  it  until  the  band  is  complete.  For  the  next 
band,  raise  or  lower  the  vertical  bar  to  the  position  desired, 
and  proceed  as  before.  The  difficulties  to  be  overcome  in 
this  lesson  are : first,  the  management  of  the  pot  or  vase, 
which  should  be  kept  at  right  angles  with  the  pencil  while 
being  revolved;  a very  little  practice  will  enable  the  pupil 
to  hold  it  in  the  proper  position.  Second,  in  making  true 


202 


POTTERY  DECORATION. 


and  delicate  lines.  To  do  this,  keep  the  j^encil  well-pointed 
or  sharpened,  and  in  revolving  the  vase,  avoid  pressing  too 
heavily  against  it.  This  lesson  should  be  practised  until 
the  pupil  can  draw  a line  of  uniform  size  around  the  vase, 
which  shall  end  at  precisely  the  same  spot  where  it  was 
begun.  After  covering  the  flower-pot  with  lines,  rub  them 
olf  with  sand-paper,  and  begin  again. 

For  the  next  lesson,  draw  with  the  platform  two  bands, 
half  an  inch  apart,  and  between  these  draw  lines  of  different 
lengths,  as  in  figure  2. 

Proceed  in  this  way : first  

draw  on  paper  a copy  of  '"7” 

the  lesson,  — that  is,  a Fig.  2, 

continuous  row  of  lines  which  shall  be,  by  actual  meas- 
urement, half  an  inch  long,  with  one-eighth  of  an  inch 
space  between  them.  This  is  to  be  reproduced  on  the 
flower-pot  without  the  use  of  a rule  or  measure. 

[Note.  — Each  of  the  following  lessons  is  to  be  done  in  the  same 
way;  that  is,  first  make  a copy  of  the  lesson  on  paper  by  actual  meas- 
urement, viz.,  with  a rule ; draw  the  parallel  lines  four  to  six  inches 
long,  which  should  be  just  a half  an  inch  apax't;  then  within  these  two 
lines  draw  the  lessons  as  given,  using  the  rule  to  measure  the  space 
and  to  draw  by.  This  the  pupil  may  place  before  him  as  his  copy. 
The  lesson  will  be  to  reproduce  the  copy  on  the  flower-pot  without  the 
aid  of  rule  or  measure.  Of  course  he  may  use  the  platform  to  draw 


POTTERY  DECORATION. 


203 


the  bands  with,  but  everything  else  in  the  lesson  must  be  done  free 
hand.  If  the  pupil  will  follow  our  advice,  and  practise  the  lessons  on 
paper  besides,  he  may  do  them  entirely  in  free  hand,  as  the  object  is  to 
teach  him  to  measure  distances  correctly  by  his  eye,  and  to  gain  a 
muscular  control  of  the  hand.] 

Continue  the  lesson  by  varying  the  length  of  the  lines 
and  space  left,  until  the  pupil  can  draw  at  will  lines  of  any 


Fig.  3. 


Fig.  4. 


4 4 • • • • • 

Fig.  5. 


Fig.  6. 


two  rows  of  dots,  a quarter  of  a 
Connect  these  by  oblique  lines, 


length,  from  a dot  to  an 
inch. 

Another  form  of  the  same 
lesson  may  be  seen  in  fig- 
ure 3.  Di-aw  two  bands  as 
before,  and  between  them 
draw  two  rows  of  parallel 
lines,  of  equal  length,  with 
equal  distance  between 
them.  Afterwards  connect 
them  at  the  ends  by  ver- 
tical lines,  as  seen  in  fig- 
ure 4. 

Again  draw  two  bands, 
as  before.  Then  draw  in 
n inch  apart,  as  in  figure  5. 
running  from  left  to  right. 


204 


POTTEUY  DECORATION. 


as  in  figure  6.  Then  try  the  same  lesson,  connecting  the 
dots  by  oblique  lines  running  from  right  to  left,  as  in  figure 
7.  When  the  pupil  can  draw  the  oblique  lines  one  way 


Fig.  8. 


Fig.  9.  , 


Fig.  10. 


as  well  as  the  other,  he  may  try  both  together,  as  in  figure 
8.  This  makes  what  is  called  lattice-work,  much  used  in 
many  forms  of  decoration. 


POTTERY  DECORATION. 


205 


Once  more  draw  the  two  bands  as  before,  and  between 
them  three  rows  of  dots,  as  in  figure  9.  The  dots  should 


Fig.  12.  Fig.  13. 


Fig.  14. 


be  one-eighth  of  an  inch  apart,  and  form  guide  points  for 
drawing  the  designs  shown  in  figures  10,  11,  12,  and  13. 

Next  draw  three  rows  of  dots,  a quarter  of  an  inch  apart, 
as  in  figure  14,  and  finish  with  vertical  and  horizontal  linos, 
as  in  figure  15.  This  will  give  one  form  of  the  Greek  fret. 


206 


POTTERY  DECORATION. 


which  is  used  with  variations  the  world  over  for  borders  in 
every  form  of  decoration.  We  say  one  form  of  the  Greek 
fret,  because  the  changes  which  can  be  worked  into  it  are 
almost  innumerable.  A band  may  be  drawn  at  the  top  and 
bottom,  if  desired. 


Fig.  16. 


Fig.  18. 

Again  draw  the  two  bands,  as  directed  in  previous  les- 
sons, and  two  rows  of  dots,  as  in  figure  16.  It  will  be 
observed  that  the  dots  in  the  upper  row  are  not  directly 
over  those  in  the  lower  row,  as  in  previous  examples,  but 
are  arranged  so  that,  if  connected  with  oblique  lines,  they 
will  make  the  design  shown  in  figure  17. 


POTTERY  DECORATION. 


207 


By  repeating  the  same  example,  and  omitting  the  top 
band,  the  design  shown  in  figure  18  will  be  obtained.  This 
design  is  much  used  as  a base  decoration  for  vases. 

The  dots  which  have  been  used  in  our  lessons  are  for 
guides,  and  only  intended  to  be  used  in  practice  work. 
After  the  eye  has  been  trained  to  measure  distances  cor- 
rectly, they  will  not  be  needed;  or,  if  used,  they  should  be 
made  so  small  that  the  decorations  will  entirely  cover  them. 

Our  examples  have  all  been  given  as  half-inch  borders 
They  can,  of  course,  be  made  larger  or  smaller,  as  the  dec- 
orator may  desire.  Other  combinations  of  straight  lines 
can  be  made  to  almost  any  extent,  as  the  pupil  will  find 
when  he  attempts  to  invent  designs  of  his  own.* 

To  continue  these  lessons  in  detail  through  curved  lines, 
light  and  shade,  and  perspective,  would  require  more  space 
than  we  can  give  in  this  book,  and  it  has  been  thought  that 
the  amateur  can  profit  more  from  thorough  instruction  in 
the  first  step,  than  by  brief  mention  covering  more  ground. 

Our  instructions  have  been  carefully  considered,  so  as  to 
benefit  those  who  do  not  care  to  learn  to  draw  as  well  as 
those  who  do.f  All  of  the  examples  of  borders  which  we 

* In  practising  these  lessons  on  a vase,  allowance  ninst  be  made  for 
the  irregular  surface.  For  further  information  on  this  subject  see  chap- 
ter on  drawing.  t See  chapter  on  drawing. 


208 


POTTERY  DECORATION. 


have  given,  as  well  as  numerous  others  which  will  suggest 
themselves  to  an  inventive  mind,  can  be  done  with  the  aid 
of  the  platform  and  a rule  by  those  who  have  no  knowledge 
of  drawing.  After  drawing  the  designs  with  a pencil,  they 
must  be  painted,  instructions  for  which  will  be  given  fur- 
ther on. 

Those  who  wish  to  make  a study  of  drawing  will  find 
that  practice  in  the  lessons  which  we  have  presented  will 
give  them  the  museular  control  of  the  hand  and  accuracy 
of  eye,  without  which  no  one  can  become  an  accomplished 
draughtsman.  Practice  in  these  examples  may  be  done  on 
paper  in  free  hand;  that  is,  without  the  aid  of  the  platform 
and  rule.  Such  practice  may  be  carried  on  indefinitely. 
Every  hour  or  half-hour  spent  in  this  way  for  improvement 
will  be  of  great  benefit  to  the  pupil,  and  it  will  not  be  a 
very  long  time  before  he  will  be  able  to  take  up  the  curved 
line  with  no  other  instruction  than  what  he  has  gained  from 
practice  in  straight  lines. 

When  the  curved  line  is  added,  the  whole  range  of  deco- 
rative art  is  open  to  the  pupil ; but  our  advice  is,  to  keep  to 
the  simple  curves  as  long  as  possible. 

The  quadrant,  the  semi-circle,  the  circle,  will,  in  con- 
junction with  the  dot  and  straight  line,  furnish  many  pleas- 


X. 


Vase  No.  14. 


POTTERY  DECORATION. 


209 


ing  forms;  afterward  the  more  subtle  curves,  as  found  in 
the  wave  scroll,  the  line  of  beauty,  and  the  anthemeon,  may 
be  attempted. 

On  the  figure  of  vase  No.  14  we  have  given  examples  of 
Greek  ornamentation.  For  beauty  of  form  and  chasteness 
of  decoration,  the  Greeks  have  never  been  excelled. 

A row  of  small  circles  with  centre  dot  (No.  1)  gives  a 
pleasing  effect  to  the  lip. 

The  Meander,  Wall  of  Troy,  or  Greek  fret  (No.  2),  with 
dots  and  diamond  shapes,  are  suitable  for  the  neck.  A va- 
riation of  the  ovolo  or  egg  and  tongue  ornament  appears 
well  upon  the  shoulder.  (No.  3.) 

A simple  conventional  wreath  with  heart-shaped,  opposite 
leaves,  and  the  anthemeon  or  honeysuckle  ornament  and 
the  fret  alternately  with  a radiate  flower,  and  bands  adorn 
the  body.  (No.  4.) 

A conventional  form  much  used  by  the  Greeks  is  placed 
at  the  lower  portion  of  the  body.  (No.  5.) 

On  tlie  foot  (No.  6)  a simple  wreath  with  alternate 
leaves.  These  are  given  as  examples  merely  of  the  forms 
most  used  by  the  Greeks  in  the  best  period  of  their  decora- 
tive art. 

One  common  fault  with  beginners,  we  find,  is  the  ten- 


210 


POTTERY  DECORATION. 


dency  to  put  on  too  much  ornament,  producing  a loaded, 
crowded,  disagreeable  impression  upon  the  mind. 

Few,  simple,  and  chaste,  are  the  ornaments  that  have 
been  universally  used. 

The  law  of  “ the  survival  of  the  fittest  ” only  has  left  us 
but  a score  or  two  of  forms  from  the  nations  of  antiquity; 
yet,  few  as  they  are,  the  combinations  of  which  they  are 
capable  are  many,  and,  with  the  variety  produced  by  change 
of  color,  ample  to  meet  all  our  wants  in  this  department 
of  art. 

In  addition  to  the  lessons  previously  given,  we  give  two 
pages  of  illustrations  of  classic  Greek  forms. 

On  page  A will  be  found  two  simple  examples  of  the 
Meander,  or  Greek  fret.  One  example  of  the  zigzag  and 
dot  combined. 

A vine  with  heart-shaped,  alternate  leaves,  with  the 
stem  curved  into  the  sigmoid  form  or  line  of  beauty. 

Next,  the  plan  of  a radiate  flower,  with  lines  and  dots 
filling  the  intermediate  spaces. 

Lastly,  the  square  and  triangle,  concentric  squares,  etc. 

On  page  B : One  and  two,  a modification  of  the  square 
and  triangle,  where  the  effect  is  produced  by  the  varying 
thickness  of  the  lines. 


■ A 


POTTERY  DECORATION. 


211 


Three,  concentric  square  connected  by  straight  lines. 

Four,  the  anthemeon  or  honeysuckle  ornament,  in  out- 
line, with  dots. 

Five,  a simple  form  of  the  same  with  broad  bands.  This 
figure  suggests  the  French  lily. 

On  the  figure  of  vase  number  13  we  give  the  illustration 
of  a vase  from  the  collection  of  Sir  Henry  Englefield,  and 
upon  a separate  page  will  be  found  the  same  design  en- 
larged. The  subject  represents  a female  figure  holding  a 
casket.  From  it  she  is  drawing  a long  fillet  or  riband, 
which  she  is  showing  to  two  young  men.  They  appear  to 
be  closely  examining  it  with  great  interest  and  attention. 
One  of  them  holds  a lance,  and  has  on  his  feet  rich  sandals ; 
the  other  has  a stick  in  his  hand.  They  are  both  naked 
with  the  exception  of  their  mantles,  which  cross  the  back 
and  are  folded  over  the  left  arm. 

It  may,  perhaps,  be  supposed  that  the  female  in  this 
painting  might  be  intended  to  represent  an  allegorical  figure 
of  Glory  or  Virtue,  who  is  inspiring  these  young  men  with 
a noble  emulation,  by  showing  them  a fillet,  the  reward  of 
those  who  distinguish  themselves  by  their  valor  in  battle,  or 
by  their  strength  and  skill  in  the  exercises  of  the  stadium  ; 
it  has,  by  some,  been  thought  to  represent  Ariadne  giving 


212 


POTTERY  DECORATION. 


Theseus  the  thread  by  which  he  was  enabled  to  extricate 
himself  from  the  labyrinth.  The  figures  are  elegant  and 
graceful:  it  was  found  at  Nola,*  and  was  purchased  at  tbe 
sale  of  Sir  John  Coghill. 

This  style  of  decoration,  which  is  pure  Greek,  is  an  ad- 
vance from  the  lessons  previously  given,  and  will  show 
what  may  be  done.  Those  who  acquire  skill  in  the  use  of 
tracing  and  impression  papers  can  easily  transfer  such  de- 
signs upon  the  vase,  and,  for  this  purpose,  we  have  recently 
published  a series  of  twenty  Flaxman’s  outlines,!  so  much 
used  by  many  of  the  most  famous  potters.  Chambers  says 
of  him,  “ Flaxman  (John),  the  greatest  of  English  sculptors, 
was  born  at  York,  England,  July  6,  1755.  At  the  age  of 
fifteen  he  became  a student  in  the  Royal  Academy,  but  never 
worked  in  the  studio  of  any  master.  In  1782,  he  married  a 
lady  of  superior  gifts  and  graces,  who  soon  began  to  exer- 
cise a beneficial  influence  upon  his  studies.  Accompanied 

* “ An  Episcopal  city  of  South  Italy,  in  the  province  of  Caserta, 
sixteen  miles  east  northeast  of  Naples ; it  is  built  on  the  site  of  one  of 
the  oldest  cities  of  Campania.  The  ancient  Nola  was  founded  by  the 
Ausonians,  and  fell  into  the  hands  of  the  Romans  in  the  Samnite  war, 
313  B.c.  Numerous  beautiful  vases,  supposed  to  have  been  manufac- 
tured here  by  potters  from  Corinth,  have  been  found  in  the  vicinity.” 

t The  price  of  this  series  of  twenty  designs  in  a folio  is  one  dollar, 
and  will  be  sent  to  any  address  on  receipt  of  price  by  S.  W.  Tilton  & 
Co.,  Boston. 


No.  13. 


Enlarged  View  of  Illustrations  on  Vase  No.  13. 


V- 

«f  ■ 

.<  t?'- 


POTTERY  DECORATION. 


213 


by  her  he  went,  in  1787,  to  Italy,  where,  by  degrees,  he 
attracted  the  attention  of  all  lovers  of  art.  . . . The  study 
of  vase  paintings,  and  the  Pompeian  mural  pictures,  then 
just  revived,  led  him  to  ab:indon  the  sickly  mannerism  of 
his  predecessors  for  the  severe  simplicity  of  the  Antique.” 

If  the  reader  wishes  to  carry  the  study  of  Greek  decora- 
tion further,  we  would  suggest  for  his  consideration  the 
following  named  books.  First.  “ Greek  Ornament,”*  which 
contains  twelve  plates,  printed  in  the  original  colors,  and 
showing  all  the  forms  of  Greek  decoration.  This  style  of 
decoration  is  applicable  not  only  to  pottery  but  to  all  forms 
of  decorative  art. 

Second.  Biilfinch’s  “Age  of  Fable,  or  Beauties  of  My- 
thology.”* In  this  volume  will  be  found  all  that  is  authen- 
tic of  those  stories  or  fables  which  have  been  handed  down 
to  us  from  remote  ages,  and  which  now,  as  well  as  in  all 
past  ages,  furnish  subjects  for  painters,  sculptors,  poets,  and 
story-tellers.  It  also  contains  over  one  hundred  illustra- 
tions, copied  from  ancient  vases,  paintings,  and  statuary. 
Besides  having  the  stories  before  him,  the  reader  will  see 
that  these  illustrations,  in  reproducing  the  masterpieces  of 

* “ Greek  Ornament,”  price,  $1.00.  “Age  of  Fable,”  price,  f2.50. 
Either  of  the  above  will  be  sent  by  mail  to  any  address  on  receipt  of 
price,  by  S.  W.  Tilton  & Co.,  Boston. 


214 


POTTERY  DECORATION. 


ancient  art,  give  the  best  idea  which  he  can  have  of  the 
conceptions  which  Greek  and  Roman  had  of  the  sacred 
beings  in  their  mythology. 

Oiir  young  readers  will  also  find  it  a source  of  entertain- 
ment ; those  more  advanced,  a youthful  companion  in  their 
reading;  those  who  travel  and  visit  museums  and  galleries 
of  art,  an  interpreter  of  paintings  and  sculptures;  and 
those  who  mingle  in  cultivated  society,  a key  to  allusions 
which  are  occasionally  made. 

A careful  study  of,  and  practice  in,  the  lessons  here  given 
will  greatly  aid  the  beginner  in  becoming  a skilful  decora- 
tor. We  would  recommend  the  pupil  to  iDractise  contin- 
ually in  all  of  the  figures  we  have  presented,  and  in  the 
manner  suggested,  until  he  is  sure  of  them  at  his  fingers’ 
end,  whenever  and  wherever  they  may  be  desired.  When 
he  feels  that  he  has  acquired  sufficient  knowledge  to 
begin  decoration  in  earnest,  a few  hints  on 

THE  SELECTION  OF  POTTERY 

may  be  found  useful.  Terra-cotta  ware  for  decoration  may 
generally  be  found  at  the  artist  supply  stores,  and  almost 
all  shapes  of  vases,  every  variety  of  plaque,  umbrella- 
stand,  tile,  etc.,  is  made  in  this  material.  The  Albert 


POTTERY  DECORATION. 


215 


ware  * is  specially  good  for  decorative  purposes ; the  shapes 
are  very  artistic,  and  the  material  fine  and  smooth.  It  is 
also  quite  ornamental,  even  without  decoration.  We  should 
recommend  for  trial  or  first  attempts  jilaques  and  cyl- 
inders, as  they  offer  a more  regular  and  even  surface  to 
work  upon.  Vases  and  subjects  with  delicate  handles  are 
to  be  avoided,  as  the  danger  of  breakage  is  very  great. 
Many  — indeed,  most — persons  seem  to  have  an  irresistible 
impulse  to  seize  such  by  the  handles  for  examination.  The 
articles  are  too  delicately  made  to  withstand  such  usage, 
and  the  general  result  is,  that  either  the  handles  break  off 
in  the  attempt  to  lift  them,  or  while  undergoing  an  exami- 
nation, in  which  latter  case  the  vase  will  fall  to  the  floor, 
only  to  be  utterly  destroyed.  Tliis  is  quite  discouraging  to 
the  artist,  who  has  spent  hours  and  perhaps  days  in  the 
work  of  decoration. 

PREPARATION  OF  POTTERY. 

The  porous  nature  of  terra-cotta  or  earthenware  renders 
it  quite  difficult  to  decorate  with  fluid  colors,  in  the  condi- 

* Price  lists  of  shapes,  sizes,  etc.,  will  he  sent  by  mail,  on  applica- 
tion, to  any  address,  on  receipt  of  stamp,  by  S.  W.  Tilton  Co., 
Boston. 


216 


POTTERY  DECORATION. 


tion  in  wliicli  it  will  be  received  from  the  potter.  By  the 
application  of  a sizing  this  difficulty  may  be  overcome, 
and  if  the  article  to  be  decorated  is  a vase  or  any  vessel 
intended  for  holding  water,  the  inside  will  also  require 
preparation. 

The  reader  may  very  easily  test  this  by  taking  an}’’  earthen- 
ware vessel  which  has  not  been  glaz(;d,  and,  filling  it  with 
water;  it  will  instantly  begin  to  absorb  the  water,  and  after 
the  pores  are  all  filled  the  water  will  be  forced  out  on 
the  surfixce  in  small  beads.  This  would  in  a short  time 
destroy  any  decoration  which  might  be  made  on  the  out- 
side. Eai'thenware  frequently  may  be  found  with  the  in- 
side glazed.  This  will  answer  very  well  for  cooking  uten- 
sils, but  for  decorative  purposes  it  will  hot  be  safe,  as  the 
glazing  is  liable  to  crack  or  be  punctured,  in  which  case  it 
would  be  perfectly  useless  as  a protection  against  water, 
because  the  slightest  crack  or  break  in  the  glazing  will 
entirely  destroy  its  protective  power. 

For  inside  protection  apply  a coat  of  painter’s  or  linseed 
oil  to  the  inside  of  the  vase.  If  the  mouth  of  the  vase  is 
too  small  to  admit  the  hand  and  brush,  turn  in  the  oil,  and 
rinse  it  around  till  every  portion  of  the  inside  has  been 
gone  over,  when  what  is  left  of  the  oil  may  be  turned  out. 


POTTERY  DECORATION. 


217 


If  the  outside  decoration  is  to  be  done  with  water-colors, 
great  care  must  be  used  not  to  allow  any  oil  to  touch  the 
outside  of  the  vase.  In  the  course  of  a half-hour  after 
applying  the  oil  repeat  the  operation  with  painter’s  varnish, 
and  allow  it  to  dry.  This  will  insure  protection  from  a 
moderate  use  of  water. 

For  the  outside  preparation  it  will  make  a difference 
whether  the  decoration  is  to  be  in  w'ater  or  oil-colors.  If  in 
water-colors,  the  same  sizing  which  has  been  recommended 
for  wood,  etc.,  can  be  used.  Apply  it  with  a brush  very 
carefully,  and  be  sure  to  cover  the  entire  outside  surface  of 
the  object. 

For  decorating  with  oil-colors  an  oil  or  shellac  sizing  can 
be  used,  or  both.  To  make  shellac  sizing  dissolve  bleached 
shellac  in  alcohol,  — break  the  shellac  into  small  pieces  and 
put  into  a wide-mouthed,  stoppered  bottle;  add  alcohol  till 
the  shellac  be  entirely  covered;  if  not  all  dissolved  within 
twenty-four  hours  add  half  as  much  more  alcohol,  and  shake 
the  bottle  until  all  is  dissolved,  when  it  will  be  ready  for 
use.  For  oil  sizing  use  pure  boiled  linseed  oil.  Either  of 
the  above  may  be  applied  with  a bristle  brush  in  precisely 
the  same  manner  as  though  one  was  painting.  If  tlie 
shellac  sizing  be  used  alone  the  color  of  the  vase  will  not 


218 


POTTERY  DECORATION. 


be  materially  changed ; it  may  be  a trifle  darker.  The  oil 
sizing  will  make  it  very  much  darker.  Many  prefer  the 
color  produced  by  the  use  of  oil  to  the  original  terra-cotta 
color.  The  only  advantage  in  using  both  shell.ac  and  oil  is 
that  it  may  give  a little  better  surface  to  work  upon,  and 
greater  protection  in  case  the  vase  is  to  be  used  for  holding 
water. 

Without  any  outside  preparation  it  might  be  difficult  to 
fix  the  colors,  as  the  porous  nature  of  the  material  causes 
it  to  absorb  the  fiuid  with  which  they  are  mixed,  so  rapidly 
as  sometimes  to  leave  the  colors  as  a dry  powder  on  the 
su  face  which  may  easily  be  rubbed  or  dusted  off.  There 
is,  however,  a very  great  difference  in  terra-cotta  ware. 
While  some  is  as  porous  as  an  ordinary  flower- pot  there 
may  be  found  pieces  so  hard  and  firm  as  not  to  require  any 
outside  preparation.  But  this  is  so  rarely  found  that  it  will 
always  be  safe  to  apply  the  sizing. 

DECORATION. 

Pottery  may  be  decorated  with  water  or  oil-colors; 
this  will  require  the  use  of  brushes  instead  of  the  lead 
pencil.  A brush  when  filled  with  color  is  to  be  used  pre- 
cisely as  a pencil,  the  difference  being  that  a pencil  has 


POTTERY  DECORATION. 


219 


a firm,  unyielding  point,  while  the  brush  will  be  soft  and 
flexible,  and  requiring  a lighter  touch.  We  would  suggest 
tliat  the  pupil  should  accustom  himself  to  the  difterence 
in  their  use  by  a little  practice  with  brush  and  paint  on 
some  old  flower-pots  before  beginning  to  decorate  in  ear- 
nest on  vases  or  plaques.  Proceed  in  tliis  way:  first 
sketch  on  the  design  with  a lead  pencil,  after  the  manner 
previously  described.  This  will  give  the  outlines  which 
are  to  be  filled  in  with  color.  If  the  decoration  is  to  be 
done  in  water-colors,  fill  in  the  entire  design  with  Chinese 
white  first.  This  is  because  water-colors  are,  nearly  all 
of  them,  transparent,  and  to  use  them  directly  on  the  red 
ware  would  produce  no  eftect;  but  if  a foundation  be  laid 
on  of  white,  first,  the  effect  will  be  the  same  as  though  the 
painting  were  done  on  white  paper.  The  idea  intended 
to  be  conveyed  by  the  above  is  that  after  filling  in  the 
outline  with  white  paint,  the  pupil  may  proceed  precisely 
as  though  he  were  painting  on  white  paper.  Of  course 
it  will  be  understood  that  the  pencil  marks  will  be  covered 
by  the  paint.  After  the  painting  has  been  completed  give 
the  entire  surface  of  the  vase  a coat  of  shellac.  The 
object  of  this  is  to  preserve  the  decoration,  as  otherwise 
the  first  drop  of  water  on  the  vase  might  entirely  ruin 


220 


POTTERY  DECORATION. 


the  design.  Tilton’s  Decorative  Art  Color  Boxes  contain 
all  the  colors  necessary  for  this  work  except  Chinese 
white,  which  can  he  had  separately. 

For  general  pottery  decoration  oil-colors  are  recom- 
mended, as  they  will  be  found  to  prove  more  permanent 
and  will  give  better  satisfaction.  Those  who  have  prac- 
tised painting  in  water-colors  from  the  instructions  given 
on  page  93  will  find  pottery  decoration  with  oil-colors  an 
excellent  stepping-stone  to  a more  extended  knowledge 
of  oil-painting.  The  principal  points  of  difference  be- 
tween water  and  oil-colors  are  as  follows;  while  nearly 
all  of  the  former  are  transparent,  nearly  all  of  the  latter 
are  opaque,  viz.,  in  pure  water-color  practice  a wash  of 
yellow  allowed  to  dry,  then  covered  by  a wash  of  blue, 
will  appear  green.  The  individuality  of  each  color  will 
be  destroyed,  and  the  effect  will  be  the  same  as  though 
the  two  colors  had  been  mixed.  In  oils,  the  colors  being 
opaque,  one  color  will  cover  another,  viz.,  a coat  of  white 
over  a black  ground  will  show  white ; that  is,  not  being 
transparent,  it  hides  whatever  it  covers,  so  that  only  the 
color  last  put  on  will  show. 

In  water-colors  one  learns  to  work  from  light  to  dark 
while  in  oils  it  is  the  reverse,  viz.,  from  dark  to  light. 


POTTERY  DECORATION. 


221 


Another  important  difference  is  in  the  manner  of  work- 
ing the  colors. 

In  water-color  painting  any  shade  from  the  full  strength 
of  the  color  to  the  slightest  tint  can  be  obtained  by  adding 
water. 

In  oils  a lighter  shade  of  color  is  produced  by  adding 
white. 

In  colors  mixed  with  water  there  is  no  substance  to 
offer  any  material  resistance  to  the  movement  of  the 
brush,  and  the  work  is  done  by  light  touches  of  a soft 
and  flexible  brush. 

Colors  mixed  witli  oil,  having  more  substance,  require 
a firmer  brush  and  a heavier  touch.  We  have  said  that 
painting  with  oil-colors  on  pottery  might  be  made  an 
excellent  stepping-stone  from  water-colors  to  a more  ex- 
tended knowledge  of  oils,  and  it  is  for  this  reason:  the 
colors  to  be  employed  are  the  regular  oil-colors  in  tubes 
which  are  made  for  artists;*  the  method  of  mixing 
them  is  somewhat  different  from  what  is  usual  in  ordi- 
nary oil-painting,  inasmuch  as  instead  of  applying  them 
clear  or  with  oil,  they  are  to  be  diluted  with  spirits  of 

* Sets  of  oil-colors  complete  may  be  had  of  the  publishers  of  this 
book  as  low  as  $2,  and  from  that  upwards.  See  chapter  on  Materials. 


222 


POTTERY  DECORATION. 


turpentine.  This  so  reduces  their  consistency  as  to  make 
the  working  of  them  very  similar  to  water-colors. 

To  mix  oil-colors  with  turpentine,  squeeze  a small 
quantity  from  the  tube  to  a paint  saucer,  then  add  tur- 
pentine drop  by  drop  until  its  consistency  is  reduced  about 
one-half,  when  it  will  be  ready  for  use.  After  using  the 
colors  cleanse  the  paint  saucers  and  brushes  thoroughly 
with  turpentine,  else  the  paint  when  dry  will  be  difficult 
to  remove  from  the  saucer,  and  will  ruin  the  brushes  for 
further  use.  When  two  or  more  colors  are  mixed  to 
produce  a new  tint,  be  sure  and  mix  a sufficient  quantity 
to  cover  the  object  intended,  as  it  will  be  difficult  to 
produce  the  same  shade  a second  time. 

Oil-colors  reduced  in  this  way  for  pottery  work  easily, 
dry  quickly,  are  permanent,  and  present,  when  finished, 
that  dead  color  usually  found  on  specimens  of  antique 
pottery.  If  the  decorator  prefers  a glossy  or  enamelled 
appearance  instead  of  the  dead  color,  he  may  have  it  by 
giving  the  subject  a coat  of  shellac  or  outside  varnish 
over  the  decoration.  A careful  following  of  the  instruc- 
tions so  far  given,  including  designs  and  method  of  mixing 
colors,  will  enable  the  decorator  to  produce  good  imita- 
tions of  the  simple  and  effective  style  of  the  ancients.  A 


POTTERY  DECORATION, 


223 


good  lesson  on  the  flower-pot  for  preliminary  practice 
with  oil-colors  will  be  to  divide  it  into  sections  b}"  draw- 
ing, with  the  aid  of  the  platform,  parallel  lines  at  stated 
intervals  around  it;  paint  every  other  solid,  and  alternate 
with  figures  selected  from  the  studies  given. 

Other  styles  of  decoration  are  employed  in  which  the 
colors  mny  be  mixed  with  oil  or  used  clear  just  as  they 
are  squeezed  from  the  tubes  — one,  that  of  painting  a 
spray  or  branch  of  flowers  across  the  article;  another 
of  almost  covering  it  with  the  dasign,  either  heavy  and 
decorative,  or  delicate  and  fanciful,  such  as  flowers  and 
fine  grasses ; or  of  covering  entirely  the  background,  that 
is  the  pottery  article,  with  a black  or  shaded  background 
of  some  color,  say  pale  red  at  the  top,  deepening  to  very 
dark  at  the  bottom.  When  dry,  paint  the  design,  say 
a spray  of  white  cherry  blossoms,  across  it.  Or  paint 
the  background  boldly  in  a rough  blending  of  harmonious 
colors  by  dabbing  in  the  paints,  one  after  another,  and, 
while  wet,  blending  tliem  with  a soft  brush.  When  dry, 
paint  the  design  on  it  boldly  and  roughly.  A heavj^  coat 
of  shellac  or  varnish  over  it  all  gives  it  the  effect  of  the 
much-sought  ceramic,  “ Limoges.” 


PAINTING  ON  ALBERTINE  POTTERY.* 

Another  very  beautiful  kind  of  pottery  which  deserves  a 
chapter  by  itself,  is  now  made  with  flowers  and  designs 
modelled  in  high  relief  upon  it.  It  is  made  for  decoration, 
and  is  painted  generally  in  imitation  of  a beautiful  faience 
called  barbotine-ware. 

The  pottery  is  very  fine  and  smooth.  The  flowers  and 
designs  are  very  beautiful.  An  exquisitely  shaped  vase 
now  stands  before  us,  about  which  there  is  modelled  a branch 
of  roses,  some  drooping  away  from  the  vase  so  as  to  be 
almost  detached,  others  lying  close  against  it.  The  leaves 
and  buds  twine  upward  and  encircle  the  neck. 

The  ware  must  be  seen  itself  to  be  appreciated. 

* The  Albertine  Ware  is  made  at  Cambridge,  Mass.,  by  A.  H.  Hews 
& Co. 


224 


PAINTING  ON  ALBEKTINE  I’OTTERV. 


225 


The  method  of  decorating  it  is  as  follows : — 

The  materials  required  are  similar  to  those  used  in  ordi- 
nary pottery  and  oil-painting,  and  are  as  follows : — 

Oil  colors  in  tubes,  a palette,  boiled  linseed  oil,  bristle  and 
camels’-hair  brushes  — a couple  of  each,  one  quite  large, 
another  medium  size.*  To  those  who  can  paint  at  all, 
even  in  the  simplest  way,  this  style  of  decoration  offers  no 
difficulties.  The  mechanical  part  of  putting  on  the  paint 
needs  no  knowledge;  and  these 
who  have  studied  the  chapters  on 
painting  in  water-colors  or  in  oils, 
and  have  used  for  practise  the  de- 
sign cards  or  books  recommended 
in  them,  will  find  they  know  quite 
enough  about  mixing  colors  to 
paint  this  pottery. 

Squeeze  your  colors  upon  your 
palette. 

Pour  some  oil  into  a little  cup  No.  218. 

to  dip  your  brushes  in  while  painting. 

Let  us  choose,  for  instance,  No.  218  in  our  illustration. 

* Either  of  the  oil-color  boxes  supplied  by  the  publishers  of  this  book 
will  contain  all  of  the  colors  required  for  this  work. 


226 


PAINTING  ON  ALBERTINE  POTTERY. 


Stand  the  piece  of  pottery  before  yon;  take  your  bristle 
brushes  and  proceed  to  paint  the  vase  upon  which  the 
design  or  modelled  relief  is  attached.  The  body  of  the 
vase  should  be  painted  with  sweeps  or  strokes  of  the  brush, 
using  plenty  of  paint. 

You  will  have  to  add  oil  to  your  paint  frequently,  or  it 
will  become  so  dry  that  it  will  not  spread  well  upon  the 
pottery.  Do  this  by  pouring  a little  oil  from  your  cup 
upon  your  palette,  or  by  dipping  your  brush  into  it  as  you 
would  use  water  in  water-color  painting. 

You  may  paint  the  body  of  the  vase  either  one  smooth, 
even  color,  such  as  light  blue,  or  to  imitate  barbotine;  or 
you  may  paint  it  of  several  colors  or  shades,  dijqDing  your 
brush  into  one  color  and  then  another,  and  blending  them  as 
you  lay  them  on  with  your  brash  by  running  one  color  into 
another.  These  colors  should  generally  be  of  the  same 
order,  or  at  least  harmonious ; thus  begin  at  the  upper  jmrt 
of  your  vase  with  light  blue  and  work  down  the  vase,  taking 
a little  more  blue  on  your  brush  as  j'ou  work,  then  a little 
brown,  and  then  a little  black,  so  that  at  the  base  your  vase 
shades  down  to  almost  black.  All  shades  of  soft  grays, 
greens,  browns,  yellows,  etc.,  blend  harmoniously,  and  the 
most  exquisite  effects  are  obtained  entirely  by  chance,  by 


PAINTING  ON  ALBEKTINE  POTTERY. 


227 


dipping  your  brush  into  all  sorts  of  colors  on  your  palette,  at 
random,  and  painting  them  on,  and  then  blending  them  by 
working  them  into  one  another  with  the  brush.  It  is  best 
to  make  your  brush-marks  run  in  one  general  direction, 
diagonally  round  the  vase  for  instance,  or  up  and  down 
on  a flattened  vase,  across  or  around  on  a plaque,  etc.,  as 
you  think  best. 

Use  a good  deal  of  oil,  so  that  your  paint  may  be  put  on 
rather  tliinly.  In  this  way  you  can  lay  your  paint  smoother; 
for  if  it  is  thick  it  will  form  a lumpy  and  rough  surface. 
When  you  have  finished  your  background  you  may  next 
paint  the  design  which  is  modelled  upon  your  vase.  This 
design  is  one  of  roses,  and  your  background  may  be  painted 
in  blue  tints  like  the  one  which  we  have  already  described. 

The  roses  should  be  painted  to  imitate  nature,  — tea- 
color,  pink,  and  white.  If  }’ou  can  procure  a natural  flower 
as  a guide,  so  much  the  better.  If  you  cannot  get  one,  you 
may  take  some  picture  as  a guide,  or  you  may  paint  as 
suits  your  own  fancy. 

Let  us  paint  the  roses  in  this  case  two  or  three  of  them 
pale  pink,  and  one  of  them  tea-ro»e  color. 

]\Iix  your  pink  (crimson  lake)  with  a good  deal  of  flake 
white,  so  that  it  may  be  very  pale.  Paint  your  rose-petals 


228 


PAINTING  ON  ALBERTINE  POTTERY. 


all  over  inside  and  outside  with  this  color.  The  petals 
should  be  deeper  in  color  in  the  centre  or  little  hollow  of  the 
petal,  and  lighter  at  the  edge.  The  centre  or  heart  of  the 
rose  should  be  a deeper  pink  than  the  outer  leaves.  The 
tea-rose  should  bo  painted  with  white,  a very  little  chrome 
yellow,  and  a mere  trace  of  vermilion,  so  slight  that  it 
merely  gives  a warmer  tone  to  the  yellow  without  making 
it  red  at  all.  The  central  petals  of  the  rose  and  the  hollows 
of  the  petals  should  be  darker  than  the  edges.  The  stems 
should  be  painted  very  light  yellow  green  (white  chrome 
and  a very  little  permanent  blue),  also  the  calixes.  The 
small  leaves  should  be  painted  the  same  color.  The  large 
leaves  should  be  darker  green  (permanent  blue  and  chrome 
yellow),  their  tips  a little  lighter  (add  chrome).  A lit- 
tle yellow  ochre  mixed  with  the  green  gives  a brownish- 
yellow  look  to  some  of  the  leaves,  and  makes  them  very 
natural.  The  colors  will  dry  in  and  become  dull  as  soon  as 
they  are  dry,  but  this  need  not  trouble  you,  as  they  will  all 
look  bright  again  when  varnished.  When  your  work  is 
quite  dry  you  may  varnish  it  with  copal  varnish,  and  your 
vase  will  be  finished.* 

* These  directions  are  based  on  the  colors  in  the  lowest  priced  color- 
box.  Cadmium  is  much  better  than  chrome,  and  may  be  had  separately. 


PAINTING  ON  ALBEUTINE  POTTERY. 


229 


We  give  in  onr  illustrations  but  a few  of  the  numberless 
designs  which  are  made  in  this  pottery.  The  ware  is  very 
fragile,  and  therefore  you  must  be  careful  while  working 
upon  it.  Keep  it  out  of  the  dust  while  the  paint  or  varnish 
is  wet.  If  the  ware  should  become  dirty  from  accumulated 
dust,  after  it  has  been  standing  for  some  time,  it  may  be 
washed  in  cold  water  very  carefully,  by  allowing  the  water 
to  run  over  it  from  a faucet,  or  by  pouring  it  over  the  vase. 
Should  you  wish  to  use  it  for  holding  water,  you  may  pre- 
pare the  inside,  as  directed  for  the  ordinary  pottery  vases  in 
the  preceding  chapter. 


DIRECTIONS  FOR  PAINTING  ON  ALBERTINE 
POTTERY. 

Vase,  No.  200.  Background,  or  vase,  dull  red  (Indian  red  and  a 
little  cliroine).  Beginning  at  upper  left-hand  corner,  paint  toward  lower 
right-hand  corner,  adding  first  a little  clear  Indian 
red,  then  a little  Vandyke  brown,  so  that  at  last 
the  color  becomes  very  dark  on  the  lower  cor- 
ner. Floiver,  pale  yellow,  (flake  white  and  a little 
chrome) ; deeper  in  the  centre,  that  is,  paint  the 
petals  a little  deeper  color  at  their  base,  where 
they  join  the  calyx  (add  more  chrome  to  previous 
colors).  Leaves,  pale  yellow-greens  (chrome,  a little 
permanent  blue,  and  a little  white) ; add  a little 
burnt  sienna  to  the  green  for  the  tips  of  some  of  the 
leaves.  Should  you  wish  to  make  a faded  leaf,  paint  it  with  raw  sienna. 
The  Stems  may  be  painted  (burnt  sienna,  a little  white,  and  a little 
chrome). 


230 


PAINTING  ON  ALBEKTINE  POTTERY. 


Basket  with  Roses,  No.  207.  Groundwork  or  basket,  dull  yel- 
lowish olive  green  (chrome,  flake  white,  a little  permanent  blue,  a very 
little  burnt  sienna).  These  colors  should  be  used  in  rather  a streaky 
way,  that  is,  beginning  at  the  upper  left-hand  point  of  the  basket,  with 

chrome  yellow,  with 
just  a little  flake  white 
in  it,  work  toward  the 
other  end  of  the  bas- 
ket, adding  just  a lit- 
tle permanent  blue  to 
the  first  colors,  then  a 
little  burnt  sienna, 
until  the  right  point 
of  the  basket  is  paint- 
ed clear  sienna.  Do 
not  mix  your  colors  in 
your  palette,  but  take  a dab  of  each  on  your  brush,  and  blend  them  on  the 
pottery  by  letting  them  streak  into  each  other.  In  this  way  you  get  very 
charming,  rich  effects.  Paint  both  sides  of  the  basket  almost  alike.  Hoses 
— White  at  the  base  of  the  petals,  add  a very  little  chrome  and  permanent 
blue,  just  enough  to  give  a slightly  greenish  tinge  to  the  white  petals 
where  they  join  the  calyx.  Stems  and  Calyxes  — Light  gray  green  flake 
white,  raw  umber,  and  very  little  chrome,  and  a little  permanent  blue). 
Leaves  — Dark  green  (permanent  blue,  Vandyke  brown,  and  a little 
chrome).  Some  of  the  smaller  leaves  a little  yellower,  some  few  of  the 
larger  leaves  tipped  with  burnt  sienna.  Handle  of  basket  reddish  brown 
(Vandyke  and  burnt  sienna),  the  inside  of  the 
basket  may  be  painted,  if  desired,  a pale  shade 
of  gray  green  (chrome,  flake  white,  permanent 
blue  and  a very  little  burnt  sienna). 

Pitcher  with  Roses,  No.  210.  Back- 
ground or  pitcher.  — Chrome  yellow  at  top,  on 
the  neck  add  a very  little  burnt  sienna  to  the 
chrome  on  the  body  of  vase,  add  more  burnt 
sienna  at  the  base,  shade  down  to  almost  clear 
burnt  sienna.  Hoses  (white).  Leaves,  dark 
bluish  green  (permanent  blue,  a little  chrome, 
and  a little  Vandyke  brown).  Stems  (chrome, 
permanent  blue,  a very  little  vermilion,  and 
white).  Frame,  background,  pale  olive  green 
(chrome,  white,  a little  permanent  blue,  and  a 
very  little  yellow  ochre),  keep  the  background  pale  and  gray.  Hoses, 
petals,  pale  pink  (flake  white,  crimson  lake,  and  a very  little  chrome, 


No.  210. 


PAINTING  ON  ALBERTINE  POTTERY. 


231 


just  enougli  to  take  away  from  tlie  purplish  shade  of  the  pink).  Centres 
or  stomens,  yellow  (chrome).  Leaves,  hv\g\\t  yellowish  light  green  (Hake 
white,  chrome,  and  a very  little  permanent  blue).  Paint  the  tips  of  some 
of  the  leaves  with  a little  burnt  sienna  and  yellow  ochre. 

Plaque,  No.  228.  Groundwork  or  background.  — Pale  blue.  Begin 
at  ui>per  left-hand  side  of  plaque,  taking  flake  white  and  a vern  little 
permanent  blue,  paint 
with  short-curved  sweeps 
of  the  brush,  following 
the  curve  of  the  plaque 
(see  circular  lines  in  il- 
lustration), when  the  up- 
per left-hand  corner  of 
the  plaque  is  filled  in 
diagonally,  add  a little 
more  permanent  blue  to 
your  color,  then  a verij 
little  yellow  ochre  and 
blue,  and  then  a very  lit- 
tle Vandyke  brown  and 
blue.  This  last  color  will 
bring  you  out  to  the  edge 
in  the  lower  right-hand 
corner.  Y o u r back- 
ground will  therefore  be 
a shade  from  very  pale 
blue,  through  dull  green- 
ish-blue, to  very  dark,  dull  blue,  the  shading  running  diagonally  across  the 
plaque.  Hoses  — Bud  pink  (carmine,  flake  white,  and  a vern  little  chrome, 
just  enough  to  take  away  from  the  purplish  shade  of  the  pink).  Inner 
petals  of  bud  deeper  pink  (more  carmine),  upper  rose,  pink  (like  bud,  only 
more  flake  white,  that  is  lighter),  tips  of  petals  a little  darker  (more  car- 
mine), second  rose,  pale  yellow  (flake-white,  little  chrome  and  a venj  little 
vermilion,  just  enough  to  make  the  yellow  wanner),  centre  petals  a little 
yellower  (more  chrome),  third  rose,  like  the  second.  Stems  — Pale  yellow 
green  (chrome,  flake  white,  and  very  little  permanent  blue),  upper  spray 
of  leaves,  light  yellow  green.  Chrome,  a little  flake  white,  and  perma- 
nent blue.  Seco)td  spray  of  /earc.s,  darker  green  (chrome,  permanent  blue, 
and  a very  little  yellow  ochre),  third  spray  (yellow  ochre,  a very  little 
permanent  blue,  and  the  tips  of  the  leaves  painted  with  burnt  sienna) 
this  spray  is  to  look  a little  turned  as  the  older  leaves  on  a bush  look. 


232 


PAINTING  ON  ALBEKTINE  POTTERY. 


Flat  Vase,  No.  231.  Baclcaround  or  vase.  — Begin  at  upper  left-hand 
corner  with  gray  green  (flake  white,  a little  permanent  blue,  chrome,  and 

a very  little  vermilion),  paint  diag- 
onally across  the  vase,  that  is  so 
that  the  gradations  of  shading  shall 
run  from  the  upper  right-hand 
corner  down  to  the  lower  left  cor- 
ner. Next,  add  to  the  previous 
colors,  yellow  ochre,  and  a very 
little  burnt  sienna,  then  omitting 
the  white,  use  yellow  ochre  and 
burnt  sienna,  until  it  brings  you 
down  to  the  lower  right-hand  cor- 
ner, which  should  be  clear  burnt 
sienna.  Both  sides  of  the  vase 
may  be  alike.  Carry  the  colors  on 
the  base  of  the  vase  around  into 
the  sides  in  their  order.  Carrying 
the  colors  around  the  sides  of  the 
vase  will  exactly  reverse  the  order 
in  which  they  come  out  on  the  other 
side,  so  to  have  the  color  continu- 
ous you  may  reverse  the  order  of 
colors  on  the  otiier  side,  beginning 
with  the  upper  right-hand  corner, 
light  gray  green,  etc.  Flowers  (chrome  yellow).  — Leaves  pale  vellow 
green  (chrome,  flake  white,  and  a little  permanent  blue).  One  or  two  of 
the  leaves  may  have  a little  yellow  ochre  and  Avhite  towai'ds  their  tips. 
This  had  better  be  when  they  come  against  the  dark  part  of  the  back- 
ground. 


No.  231. 


PAINTING  ON  CHINA. 


Painting  on  china  is  very  simple  and  easy  to  those  who 
have  already  learned  either  to  paint  in  water  or  oil-colors. 
The  colors  resemble  oil-colors  very  much,  being  put  up  in 
tubes,  squeezed  upon  a palette  and  thinned  with  turpentine  or 
oil,  and  applied  in  very  much  the  same  manner  to  the  sur- 
face. Too  much  mystery  has  been  allowed  to  grow  around 
the  art  of  painting  on  china,  and  those  who  would  other- 
w'ise  have  attempted  it  as  naturally  and  readily  as  water  or 
oil  painting  have  been  deterred  by  the  mysterious  hints 
given  by  the  initiated  about  “ changes  that  take  place 
in  the  mineral  colors  in  the  firing,”  the  difficulties  of 
“ grounding,”  etc.  These  difficulties  are  really  very 
simple  ones,  and  can  readily  be  overcome  by  a little  use 
of  the  memory  and  by  attention  and  patience.  Let  the 
reader  remember  that  he  may  paint  upon  china  just  as 
he  w^ould  upon  any  hard,  smooth  surfixce,  and  work 
with  confidence  and  boldness,  fixing  in  his  mind  the  idea 


GOO 


234 


PAINTING  ON  CHINA. 


that  his  picture  will,  after  it  has  been  through  the  fire,  be 
exactly  what  it  was  before,  with  the  exception  of  a few  colors 
which  he  can  easily  carry  in  his  mind,  or  make  a note  of  for 
convenience.  The  materials  needed  are  as  follows:  — 

Some  article  made  of  china,  not  transparent  porcelain,  but 
opaque,  cream-white  china,  with  a glaze.  Care  should  be 
used  in  selecting  the  article,  for  it  must  be  free  from  spots 
or  imperfections  in  the  glaze  and  of  good  quality. 

China  colors,  which  come  put  up  in  tubes,  ready  for  use. 

A slat  or  square  of  ground  glass,  to  use  as  a palette  to 
mix  the  colors  upon. 

A palette  knife  made  of  bone. 

Brushes.  Camels’  hair  brushes,  such  as  are  used  in 
water-color  painting.  For  all  ordinary  work  these  will  suf- 
fice. One  or  two  small  camels’  hair  brushes  with  square 
ends  ; one  medium-sized  camels’  hair  brush,  with  a good 
point;  one  small  but  very  pointed  outlining  brush;  one 
large  camels’ hair  brush,  over  an  inch  broad  and  flat;  a 
camels’  hair  brush,  called  a blender,  is  sometimes  used, 
but  with  a little  practice  it  is  not  necessary. 

Turpentine.  Pour  some  from  a bottle  into  a cup  or  shal- 
low dish,  to  use  for  dipping  your  brushes  into  or  to  dilute 
your  colors  with. 


PAINTING  ON  CHINA. 


235 


Oil  of  lavender  to  add  to  your  colors  when  you  wish  to 
make  a flat  tint. 

Some  fne  linen  rags  (old  handkerchiefs  are  good),  and 
some  ordinary  rags  for  wiping  your  brush,  wiping  out  im- 
perfect work  or  cleansing  your  palette. 

Alcohol  to  wash  out  your  brushes  or  to  wash  color  off 
your  hands. 

A hand  rest,  that  is  a flat,  thin  strip  of  wood,  about  two 
inches  wide,  with  a little  block  under  either  end,  to  raise  it 
about  an  inch  and  a half  from  the  table  or  the  surface  of  the 
article  upon  which  you  are  painting.  This,  of  course,  is 
only  to  use  when  you  are  painting  upon  a flat  surfice  or  a 
concave  one.  If  the  edges  of  the  article  on  which  you  are 
painting  are  raised,  as  in  a plaque,  you  may  merely  lay  a 
ruler  across  from  edge  to  edge.  The  warmth  of  your  hand 
would  make  it  stick  to  the  paint  if  you  rested  it  directly 
Uiion  the  painted  surface. 


A needle  to  remove  any  hairs  or  particles  of  dust  that  stick 
to  the  article  when  it  is  being  painted. 

A little  cotton  wadding  to  make  a dabber.  To  make  a dab- 


236 


PAINTING  ON  CHINA. 


her,  take  a little  square  of  very  fine  linen,  about  four  or  five 
inches  square,  lay  it  upon  the  table,  put  a small  quantity  of 
cotton  wool  in  the  centre,  about  as  big  as  two  walnuts,  and 
gather  the  square  of  linen  up  about  it  and  tie  it  loosely 
round  about  with  a string,  near  the  cotton,  so  as  to  make  a 
thing  resembling  a shuttle-cock.  It  must  be  very  soft  and 
yielding,  so  do  not  tie  it  too  close  to  the  cotton,  crowding 
that  into  a hard  lump.  This  dabber  is  to  pat  down  smooth 
even  backgrounds  with,  as  you  will  see. 

A pan  of  carmine  A This  must  be  of  moist  water-color 
paint,  and  is  for  outlining  the  first  sketch  on  the  china. 

We  will  now  proceed  to  give  the  reader  a lesson  in  work- 
ing with  these  materials. 

A plaque  or  hollow  plate  is  the  easiest  form  to  deco- 
rate, curved  surfaces  ofiering  more  difficulties,  as  they  have 
to  be  turned  about  while  working  to  enable  one  to  paint  on 
all  sides  of  them.  A Iqrge  solid  flower  is  simplest,  as  from 
the  fact  that  it  is  not  indented  or  cut  up  much,  there  will  be 
less  difficulty  in  wiping  out  the  design  after  the  background  is 
done,  as  you  will  see  further  on.  The  indentations  or  irregu- 
larities which  one  has  to  deal  with  in  a flower  like  a daisy 
for  instance,  make  it  a longer  and  more  annoying  process. 


* One  of  Tilton’s  ten-cent  pans  or  tubes  will  answer. 


PAINTING  ON  CHINA. 


237 


Take  your  outlining  brush  and  your  pan  of  carmine,  a tum- 
bler of  water,  and  proceed  to  outline  your  design,  using  no 
other  medium  to  wet  your  brush  in  than  the  water.  This 
enables  you  to  work  over  it  with  your  china  color  mixed  with 
turpentine,  for  the  water-color  will  not  come  off.  Your  out- 
line should  be  clear,  decided,  and  sharp.  This  outline  being 
in  water-color  paint  will  entirely  disappear  the  plate  is 
fired  or  baked,  so  that  you  must  regard  it  merely  as  a guide 
while  you  are  working  and  not  as  having  ayiy  ytart  in  your 
design,  so  that  if  you  wish  your  design  to  be  outlined  you 
must  be  careful  to  go  over  every  portion  of  your  water- 
color  outline  with  your  china  color.  This  you  will  have  to 
be  particularly  careful  about  if  tlie  outline  in  cliina  color  is 
similar  in  color  to  your  carmine,  as  often  you  might  neglect 
to  go  over  some  little  portion,  and  after  it  was  fired  that 
part  would  be  without  an  outline.  The  carmine  (water- 
color)  outline  may  be  rubbed  out  at  will  with  a wet  rag. 
If  your  outline  is  not  correct  the  first  time,  you  can  rub  it 
out  and  draw  it  again. 

To  return  to  the  beginning  of  our  lesson,  outline  your  de- 
sign in  carmine  and  then  proceed  thus : 

Mix  your  colors  before  you  begin  to  jDaint,  very  thor- 
ouglily,  by  rubbing  them  down  with  turpentine  and  your  pa- 


238 


PAINTING  ON  CHINA. 


lette  knife  upon  your  glass  slab.  For  your  larger  surfaces, 
such  as  the  petals  or  broad  leaves  of  a flower,  take  your 
flat-tipped  brushes  and  lay  the  color  in  smooth,  flat  strokes, 
each  successive  stroke  touching  the  edge  of  the  last  stroke, 
but  not  overlapping.  It  must  be  always  remembered  that 
you  must  never  paint  over  the  same  spot  twice  while  it  is  at 
all  wet  and  even  after  it  is  quite  dry  it  can  only  be  done  by 
one  who  has  a light  and  experienced  touch.  Do  not  have 
your  color  too  thick,  but  still  do  not  be  afraid  to  lay  your 
colors  boldly,  as  you  can  wipe  them  off  as  often  as  you  like 
with  a clean  rag  wet  with  turpentine.  Practice  is  the  best 
and  only  teacher  that  can  guide  you  here.  After  a little 
trying  you  will  discover  for  yourself  how  to  use  your  brush 
most  easily  and  with  best  effect.  Do  not  be  afraid  of  fail- 
ure. You  may  not  succeed  at  first,  it  is  not  an  easy  thing, 
but  you  can  always  wash  your  faults  away  with  turpentine, 
and  every  mistake  you  make  will  teach  you  something.  For 
long-pointed  leaves  or  surflices  your  ordinary  pointed  brushes 
you  will  find  most  serviceable.  Remember  that  in  painting 
on  china  if  you  have  practised  the  instructions  we  have  pre- 
viously given  on  water-color  painting,  it  will  be  of  very  great 
assistance  to  you  in  learning  to  do  this  work.  After  you 
have  finished  painting  your  design,  which  may  be  quite  fin- 


PAINTING  ON  CHINA. 


239 


ished  in  every  detail  or  only  partly  finished,  yon  may  have 
it  fired,  leaving  most  of  the  details  to  be  put  on  after  this 
first  firing.  The  merit  of  this  last  way  of  having  it  fired 
first  before  all  the  details  are  put  in  is,  that  after  it  is  fired, 
you  can  work  over  the  first  colors  as  much  as  you  like,  with 
out  their  coming  off  or  being  in  the  least  affected  by  it. 
Thus  you  ma}^  have  it  fired  as  often  as  you  like,  each  time 
adding  a little.  Some  celebrated  artists  have  their  plates 
fired  sixteen  or  seventeen  times.  For  ordinaiy  work  two 
or  three  firings  will  be  enough,  and  for  simple  work,  wdien 
you  have  no  colored  background,  one  firing  is  enough. 
Tliis  can  be  done  by  a professional  decorator,  of  whom 
there  are  a number  in  every  cit3^  or  at  home,  by  procuring 
some  one  of  the  fire-clay  boxes  to  be  used  in  ordinary 
stoves  or  kilns,  complete  in  themselves,  which  have  been 
invented  to  meet  this  urgent  need. 

We  will  now  proceed  with  the  background.  A smooth 
background  is  the  easiest  to  make,  so  we  will  begin  with 
that.  By  a smooth  background,  we  mean  one  which  shows 
no  brush  marks  or  strokes,  but  presents  a smooth-colored 
surface,  or  tint.  This  tint  may  be  even  or  shaded  from  light 
to  dark  or  clouded.  Proceed  thus  — squeeze  sufficient 
color  upon  your  ground  glass  slab,  to  serve  for  the  whole 


240 


PAINTING  ON  CHINA. 


background.  You  will  not  be  able  to  judge  how  much  you 
need  at  first,  but  you  had  better  err  on  the  side  of  hav- 
ing too  much,  than  too  little,  for  if  you  stop  to  mix  more 
while  your  background  is  half  covered  it  will  dry  and  leave 
a line  between  the  old  and  new  portions.  The  principle 
here  is  the  same  as  we  have  taught  in  water-color  painting. 
Pour  upon  your  paint  enough  turpentine  to  make  it  about 
the  consistency  of  cream,  when  it  is  rubbed  down  with  your 
bone  palette  knife.  This  you  must  do  by  rubbing  it 
thoroughly  on  the  slab  with  the  flat  of  your  knife.  All 
colors  must  be  rubbed  down  in  this  way  with  turpentine. 
When  you  have  two  or  three  colors  to  mix,  they  must  be 
thoroughly  rubbed  together  until  you  have  the  required 
shade,  and  never  trust  to  mixing  them  with  your  brush,  or 
they  will  be  streaky.  If  you  have  two  or  three  shades  for 
your  background  or  any  part  of  your  design,  they  must  all 
be  mixed  before  you  begin.  That  is,  if  you  begin  at  the  top 
with  yellow,  shade  into  orange  in  the  middle,  and  into 
dark  red  at  the  bottom.  If  you  have  merely  one  color,  such 
as  light  red  at  the  top,  deeper  red  in  the  middle,  and  dark 
red  at  the  bottom,  you  need  merely  take  the  color  thin  at 
first  and  add  more  (take  more  on  the  brush)  as  you  proceed. 
Having  mixed  your  background  color  thoroughly  with  your 


PAINTING  ON  CHINA. 


241 


palette  knife  and  turpentine,  add  a few  drops  of  oil  of  laven- 
der. This  is  done  to  keep  the  color  wet  longer,  as  it  will 
not  evaj)orate  so  quickly  as  the  turpentine,  and  there  is  less 
danger  of  your  leaving  a line  between  your  fresh  brush 
strokes  and  your  old  ones,  if  any  delay  should  give  them 
time  to  dry  somewhat.  It  also  makes  the  paint  flow  more 
freely  — a very  few  drops  of  oil  will  go  a long  way  — too 
much  oil  will  make  the  color  blister  in  the  fire,  so  you  must 
use  only  as  much  as  is  absolutely  necessary,  say  three  or 
four  drops  for  the  background  of  a plate  eight  inches  across. 
The  oil  need  only  be  used  where  there  are  large  surfaces  to 
cover,  such  as  backgrounds.  Take  your  background  brush, 
and,  filling  it  pretty  full  of  color,  proceed  to  lay  on  the  color 
over  the  whole  plate,  design  and  all,  in  broad  smooth  strokes 
or  sweeps  of  the  brush,  either  curved  or  straight,  and  rather 
long  and  bold.  Each  sweep  must  carry  the  paint  close  up, 
or  ovei-lapping  the  edge  of  the  previous  sweep,  so  that  no 
space  is  exposed  between  them.  The  princijDle  is  the  same 
as  the  flat  wash  in  water-color  painting. 

You  cannot  pass  your  brush  twice  over  one  place,  as  the 
second  stroke  will  take  up  the  first  paint  and  make  a light 
or  broken  spot  in  the  color  (unless  your  plate  with  the  first 
color  upon  it  has  been  fired).  You  cannot,  therefore,  patch 


242 


PAINTING  ON  CHINA. 


yonr  work  where,  so  that  each  stroke  must  be  consid- 
ered. You  cannot  wipe  out  with  turpentine  any  one  spot 
in  a background,  for  when  it  is  filled  in  again  it  will  look 
quite  differently  from  the  rest,  and  will  show  distinctly 
where  it  has  been  patched.  The  only  thing  is  to  wipe  out 
the  whole  background  with  a rag  wet  with  turpentine,  and 
then  begin  over  again. 

The  surfiice  must  be  covered  as  evenly  as  possible,  that  is, 
there  must  be  no  great  variety  in  the  shades  of  the  different 
strokes.  One  must  not  be  darker  tlian  another  unless  you 
wish  a shaded  background,  when  you  may  proceed  in  the 
same  way,  only  add  color  as  you  wish  to  deepen  it.  When 
your  plate  is  all  covered  witli  the  background  color,  take 
your  dabber  and  proceed  to  pat  it  all  over.  Pat  it  until  it 
is  all  even.  If  one  spot  is  darker  than  another,  pat  it  until 
it  becomes  lighter.  Wipe  your  dabber  occasionally  with  a 
rag,  if  it  becomes  too  full  of  paint.  If  you  have  patted  any 
particular  spot  too  long,  until  it  looks  lighter  than  the  rest, 
put  a very  little  paint  on  your  dabber  and  pat  it  on  to  the 
light  spot.  Now  if  your  background  is  not  satisfactory  you 
may  wet  a rag  with  spirits  of  turpentine  and  wash  it  all  off, 
without  affecting  the  design  in  the  least,  as  turpentine  will 
not  affect  water-color.  If  your  background  is  satisfactory, 


PAINTING  ON  CHINA. 


243 


and  when  it  is  quite  diy,  you  may  now  proceed  to  wipe  out 
your  design.  Take  a fine  linen  strip,  (the  hem  of  a hand- 
kerchief), roll  it  up  into  a little  cylinder,  and  with  the  end 
slightly  wet  with  turpentine,  wipe  off  all  the  background 
paint  from  your  design,  that  is,  all  the  surface  included  within 
the  outlines  of  your  design.  This  is  tedious,  as  it  requires 
time  and  patience  to  wipe  perfectly  clean  every  part  of  the 
design ; this  is  why  it  is  easier  to  have  a large  solid  design, 
than  one  which  is  much  cut  up.  Remember,  wherever  you 
leave  any  color,  it  will  remain  after  firing  and  can  never 
be  removed.  Yon  cannot  be  too  careful  about  wiping  your 
design  carefully  and  so  that  it  shall  be  quite  free  from  the 
background  color.  Be  also  careful  not  to  drop  any  turpen- 
tine upon  your  background,  as  wherever  you  drop  any  you 
will  leave  a white  spot.  Another  way  of  drawing  your  de- 
sign is  this,  although  it  is  not  suggested  that  it  should  be 
practised  by  any  but  those  who  can  draw  with  precision  and 
exactness.  Take  your  plate  and  paint  on  and  finish  your 
background  first,  then  while  your  background  is  still  moist 
take  some  pointed  instrument,  say  a knitting-needle,  and 
draw  your  design  upon  the  background  with  it.  It  will 
leave  a white  line.  This  will  serve  you  for  an  outline,  and 
you  mny  then  wipe  out  your  design  as  in  the  first  method, 


244 


PAINTING  ON  CHINA. 


or  course,  if  you  nicake  a false  line,  it  cannot  be  corrected,  as 
you  cannot  cover  it  over,  for  it  -will  make  a patch  in  your 
background.  You  have  now  learned  to  make  a smooth 
background.  It  is  a very  simple  matter  and  only  requires 
“ practice  to  make  perfect.”  Such  a background  may  be 
varied  from  the  white  of  the  plate  for  the  lightest  tint  if  re- 
quired, beginning  at  the  upper  edge,  then  deepening  down 
through  pale,  then  to  the  deepest  blue  at  the  lower  edge 
blending  each  tint  carefully  into  the  next  with  your  dabber, 
by  patting  all  over  the  plate  carefully.  You  may  blend 
different  colors  in  the  same  way.  To  make  your  back- 
ground clouded,  lay  the  j>aint  more  heavily  in  some  places 
than  in  others,  and  when  using  your  dabber  preserve  the 
same  effect  by  keeping  some  places  lighter  than  others. 


OTHER  BACKGROUNDS. 

Another  way  of  making  a backgi’ound  is  to  proceed  as 
in  the  beginning;  draw  your  design,  mix  your  color  or 
colors,  take  your  background  brush  and  paint  it  all  over 
in  strong  sweeps  or  strokes.  This  time,  remember  that 
this  is  to  be  the  last  process,  and  you  must  paint  just  as  yon 
wish  it  to  be,  for  it  will  not  be  blended  with  a dabber, 


PAINTING  ON  CHINA. 


245 


Make  it  as  even  as  possible.  Make  your  strokes  not  too  long 
this  time,  but  vigorous,  remembering  not  to  touch  one  place 
twice.  In  his  method  you  may  have  the  first  painting  of 
your  background  fired  in,  (that  is,  baked)  remembering  to 
wipe  out  your  design  first,  and  then  paint  all  over  again 
perhaps  sweeping  the  strokes  from  the  opposite  direction 
and  crossing  the  original  strokes  at  acute  angles.  You  can 
get  very  good  effects  in  this  way. 

This  style  of  allowing  the  strokes  of  the  brush  to  show 
in  the  background  gives  great  vigor  and  richness  to  the 
work,  and  is  considered  more  artistic.  It  is  impossible  to 
describe  the  richness  of  the  effects  attainable  in  this  style 
But  the  reader  has  only  to  try  it  for  himself  to  see.  We 
recommend  most  strongly  to  the  reader  to  paint  his  back- 
ground boldly  and  strongly,  this  being  the  chief  merit  of 
this  style,  and  to  wash  the  background  off  repeatedly  with 
a rag  wet  with  turpentine,  until  it  is  satisfactory,  for 
the  loss  of  the  paint  is  as  nothing  in  the  balance  to  the 
experience  gained  by  so  doing.  Shaded  backgrounds  of  one 
or  several  colors  can  be  made  in  this  style  as  well  as  in 
the  former  style.  When  your  background  is  satisfiictory, 
wipe  out  your  design  as  before. 

Now,  if  you  intend  to  outline  your  design,  which  should 


246 


PAINTING  ON  CHINA. 


be  done  if  it  is  conventional,  and  gives  finish  and  richness 
to  very  simple,  strong  designs,  you  may  outline  it  now. 
Designs  of  flowers,  birds,  figures,  landscapes,  etc.,  when 
it  is  intended  to  finish  them  either  in  a sketchy  style,  or  in 
minute  imitation  of  nature,  need  not  be  outlined.  But 
the  reader  must  remember,  however,  in  either  case,  if  he 
is  painting  white  objects,  where  the  china  is  left  for  the  white 
tint,  to  outline  or  go  over  the  lines  in  some  pale  neutral  tint, 
say  gray,  of  all  portions  of  his  design,  when  it  is  necessary 
to  preserve  the  outline,  or  in  color,  — the  centres  of  flowers 
where  stems  cross,  etc.,  in  fact,  any  portion  the  outline  of 
which  is  not  formed  by  the  ending  of  the  background  color 
and  the  beginning  of  the  white  china,  or  in  white  objects,  or 
where  a mass  of  color  comes  together  without  being  out- 
lined  by  the  background.  If  the  design  is  to  be  outlined, 
a suitable  color  is  chosen,  — red  brown  (hrim  rouge)  is  a 
good  one,  and  looks  well  with  almost  every  color,  — and  this 
outline  of  the  design  is  carefully  gone  over  with  an  outline 
brush.  This  outline  should  be  delicate,  firm,  precise,  and 
clear.  The  chief  beauty  of  the  design  rests  with  the  out- 
lining, so  that  it  should  be  done  conscientiously  at  least,  if 
not  skilfully.  The  outlining  of  nearly  all  Japanese  work 
is  wonderfully  good,  and  if  you  are  fortunate  enough  to 


PAINTING  ON  CHINA. 


247 


own  a well-designed  Japanese  fan  or  similarly  decorated 
object,  you  cannot  do  better  than  to  devote  a few  mo- 
ments of  study  to  the  extreme  nicety,  and  at  the  same 
time  the  extreme  strength  and  correctness  of  the  work. 
When  your  design  is  wholly  outlined  thus,  or  in  portions, 
as  for  other  styles  of  work,  the  plate  is  ready  for  a second 
firing. 

Of  course  there  is  always  some  risk  in  the  process  of 
firing.  The  plate  may  be  broken,  or  the  colors  may,  some 
of  them,  become  altered  by  the  heat.  For  the  first  danger 
we  can  offer  no  help,  except  suggesting  to  our  reader  to 
try  and  discover  from  some  one  the  very  best  and  most 
careful  person  to  fire  his  plates  attainable.  For  the  second 
danger,  we  ofter  the  following  list  of  paints  which  are 
affected  by  the  heat,  and  which  are  to  be  used  at  discretion, 
subject  to  the  following  facts  : — 

Yellow  is  a very  powerful  color,  and  will  always  pre- 
ponderate after  firing  over  any  other  color  mixed  with 
it.  Thus  it  has  to  be  shaded  with  almost  black  or  very  dark 
gi-ay. 

Carmine,  unless  applied  very  thinly,  will  fire  into  a 
brick  red. 

Any  little  particles  of  dust  which  settle  on  the  article 


248 


PAINTING  ON  CHINA. 


while  painting  can  be  removed  with  the  point  of  a 
needle. 

The  publishers  of  this  book  have  designs  prepared  especi- 
ally for  china  decoration,  in  a great  many  styles  in  trans- 
ferring patterns  (see  chapter  on  Transferring  Designs) 
which  may  be  transferred  immediately  on  the  china,  and 
require  no  knowledge  of  drawing. 

We  give  the  following  list  of  ten  colors  which  will  be 
found  to  answer  all  purposes.  Every  artist  has  what  is 
called  his  favorite  palette,  that  is,  each  artist  becomes 
accustomed  to  a certain  list  of  colors,  which  he  always 
uses,  either  from  preference  or  habit.  The  reader,  proba- 
bly, after  he  has  painted  for  some  time,  will  also  become 
more  partial  to  certain  colors  and  mixtures  of  colors  than 
to  some  others,  when  ho  may  choose  for  himself.  The  best 
plan  is  to  take  a white  china  tile  and  paint  a little  square 
of  each  of  his  colors  upon  it  with  the  pure  color,  then  a 
little  square  of  certain  mixtures  which  he  is  in  the  habit 
of  using,  such  as  greens,  grays,  etc.  Then  print  the  name 
of  the  color  or  mixture  under  each  one,  and  have  this  tile 
fired.  He  can  then  use  this  for  reference,  and  can  tell 
how  each  color  will  look  after  it  has  been  fired. 


PAINTING  ON  CHINA. 


249 


LIST  OF  TEN  COLORS. 


Ivory  Black, 


Pompadour  Pink, 
Celestial  Blue, 


Brown  No.  3, 
Yellow  for  Mixing, 


Grass  Green  No.  5. 
Deep  Chrome  Green, 
Light  Violet  of  Gold. 


Silver  Yellow, 
Capucine  Red, 


COLORS  WHICH  CHANGE  IN  FIRING. 


Pink  must  be  put  on  thin  if  you  wish  a light  tint,  as 
it  will  fire  a dull,  dingy  red.  When  dry,  shade  with  the 
same. 

Violet  of  Gold  must  be  used  in  the  same  way.  These 
change  more  than  any  other  colors  in  firing. 

Capucine  Red  must  be  put  on  quite  heavily  to  obtain 
a good  color. 

Blue  will  deepen  in  color  by  firing. 


Pink  and  Violet  of  Gold  should  not  be  mixed  with  any- 
thing, but  after  drying  may  be  shaded  with  Black. 

In  using  Green  a little  Pink  can  be  mixed;  also  Red, 
Brown,  and  Black. 

Mixing  Yellow  is  used  to  lighten  Greens. 


COLOR  MIXING. 


250 


PAINTING  ON  CHINA. 


Silver  Yellow  must  be  kept  by  itself,  as  it  will  eat  out 
other  colors.  Flowers  painted  with  it  may  be  quite  heavily 
shaded  with  Brown  and  Green. 

Grass  Green  is  also  a strong  color,  needs  mixing  Yellow, 
and  is  best  shaded  witli  Black  or  Brown.  Use  Black 
sparingly,  as  it  comes  out  veiy  black. 


These  all  make  good  tints. 

Chrome  Green  mixed  with  a little  Black  and  Brown,  is 
used  to  shade  Grass  Green,  and  looks  well  when  fired. 

We  here  present  our  readers  copies  of  forty  designs, 
with  a description  of  the  coloring  of  each,  which  were  used 
by  Josiah  Wedgwood  in  the  decoration  of  porcelain. 

They  are  such  as  he  found  by  experience  to  be  the  most 
satisfactory. 

Many  of  them  were  taken  witliout  alteration  from  Greek 
vases  of  the  best  period. 

Others  are  modifications  of  Egyptian  forms. 


TINTING  COLORS. 


Silver  Yellow, 
Pompadour  Pink, 


Celestial  Blue, 
Chrome  Green, 


Violet  of  Gold. 


PAINTING  ON  CHINA. 


252 


PAINTING  ON  CHINA. 


Some  were  designed  in  Italy  and  Germany,  and  sent  to 
him  to  be  used  in  the  decoration  of  special  orders.* 

No.  1.  The  vine  in  light  blue;  ground,  white;  outer 
border,  background,  and  curved  lines,  in  brown. 

No.  2.  The  broad  band,  upon  which  is  painted  the 
forget-me-not,  is  a light  buff;  the  flowers,  natural  color  of 
deep  blue;  leaves,  stem,  and  narrow  bands,  brown;  the 
palm-branch,  light  green. 

No.  3.  A favorite  pattern,  varied  but  little  from  the 
Greek ; the  outer  portion  being  the  astragal,  or  bead-and- 
button  moulding,  the  inner,  the  egg-and-dart,  or  tongue 
moulding,  — all  black  except  the  egg,  which  is  light  green. 

No.  4.  The  quatrefoil  of  leaves  Is  to  be  light  red,  all 
else  black. 

No.  5.  Broad  bands,  brown;  stems  and  leaves,  green, 
shaded  brown ; flowers,  blue. 

No.  6.  Outer  band,  light  green;  inner,  pale  yellow; 
wave-lines,  brown;  wheat,  light  yellow;  the  white  dots  of 
the  engraving  color,  brown. 

No.  7.  The  ground  in  which  the  dots  appear  is  pink. 
What  is  black  in  the  engraving  should  be  brown  in  the 
object. 

* For  other  designs  and  instruction,  see  Greek  Ornament  as  applied  to 
Pottery  Decoration,  which  may  be  had  from  the  publishers  of  this  book. 


PAINTING  ON  CHINA. 


253 


254 


PAINTING  ON  CHINA. 


No.  8.  A very  light,  grayish-blue  for  all  that  is  black  in 
the  engraving;  the  half-tint  is  a graded  shade  of  brown,  for 
relief. 

No.  9.  Same  as  No.  5. 

No.  10.  All  brown;  a very  pleasing  pattern. 

No.  11.  Colored  like  No.  8. 

No.  12.  Outer  band,  purple;  ground  for  dots,  green; 
curved  lines  and  drops,  pink;  leaves,  green. 

No.  13.  Same  as  engraving,  except  a deep-red  ground 
for  the  meander  or  fret. 

No.  14.  The  ovoid  or  shield  for  the  anthemeon,  dark- 
red;  all  else  black. 

No.  15.  Outer  band,  brown ; larger  leaves,  light  green ; 
flowers  and  spray,  pink. 

No.  16.  All  brown;  favorite  design. 

No.  17.  Outer  band,  brown;  ground,  lemon-yellow; 
leaves  and  spray,  same  as  outer  band ; flowers,  pink. 

No.  18.  Outer  band  and  design,  brown  on  lemon-yellow 
ground. 

No.  19.  Outer  band  and  design,  light-blue  on  dark-red 
ground. 

No,  20.  Bands  and  stems,  brown ; leaves,  green,  shaded 


brown. 


PAINTING  ON  CHINA. 


255 


No.  21.  All  brown;  very  pleasing. 

No.  22.  Variations  of  Egyptian  lotus-bud.  Ground, 
blaek;  stems,  and  shaded  portion  of  buds,  brown. 

No.  23.  Vermicelli  pattern.  Ground,  light  stippled 
brown;  bands,  dark  brown;  design,  blaek. 

No.  24.  Same  in  eoloras  No  21. 

No.  25.  Ground,  black;  central  line,  and  half  tint,  shad- 
ing broAvn. 

No.  26.  Same  as  No.  9. 

Nos.  27  and  29.  Greek.  Colors  same  as  in  Nos.  13 
and  14. 

No.  28.  What  is  black  in  pattern,  make  a golden  brown. 

Nos.  30  and  32.  Greek.  Black  figures  upon  a russet 
ground. 

No.  31.  Light  portion  of  leaves,  yellow;  shaded  j^ortion 
and  bands,  brown. 

No.  33.  Bands,  design,  and  dots,  brown,  upon  lemon 
ground. 

No.  34.  The  black,  same  as  in  pattern;  the  half-tint, 
green,  on  a butt'  ground. 

No.  35.  Outer  band  brown;  leaves,  green  on  green 
ground,  but  outlined  and  slightly  shaded  in  brown ; ribbons, 
pink. 


256 


PAINTING  ON  CHINA. 


No.  37.  Brown  design  on  deep-yellow  ground. 

Nos.  36,  38,  39,  40.  All  Greek  patterns.  Black  upon 
red  ground. 

The  above-described  combinations  of  color  are  as  given 
Wedgwood;  they  can  be  varied  to  suit  the  taste  of  the 
decorator. 

Note.  — The  to  lowing  important  int'orniation  in  regard  to  painting  in 
backgrounds  has  been  sent  to  us  by  a valued  correspondent  since  the 
above  chapter  was  preijared.  Its  practice  will  save  the  decorator  much 
time  and  trouble  : — 

After  drawing  the  design,  and  befoi  e painting  in  the  background,  cover 
the  Avhole  design,  that  is,  fill  in  all  portions  of  it  Avith  a preparation  made 
of  glycerine  and  chalk  powder.  Make  the  preparation  sufficiently  fluid 
to  enable  one  to  paint  it  on  with  a brush,  but  not  liquid  enough  to  run. 
When  dry,  paint  the  background  over  the  Avhole  surface,  then  send  it  to 
be  tired,  and  when  it  has  been  returned  all  that  portion  covered  with 
chalk  and  glycerine  will  peel  off  and  the  design  Avill  be  left  bare. 


LEATHER  WORK. 


and  can  be  used  for  a great  variety  of 
useful  and  ornamental  purposes. 

We  have  adopted  the  following  method  with  suc- 
cess : — 

Select  a soft  sheep  skin  rather  thick  ; cut  from  it  flowers  and 
leaves  to  suit  your  fancy.  It  is  well  to  have  pasteboard  patterns 
free  from  blemishes  and  neatly  cut,  and  with  these  it  will  be  easy  to 
cut  from  the  leather.  Due  attention  should  be  given  to  different 

2.57 


258 


LEATHER  WORK. 


sizes  and  kinds.  When  yon  have  a sufficient  number  cut  from  the 
leather,  wet  them  in  cold  water,  and  squeeze  them  dry,  and  pull 
them  into  shape,  and  form  the  leaves  and  flowers  to  suit  your  taste ; 
while  wet,  put  them  into  the  oven  to  dry.  Make  a solution  of 
vinegar  and  Venetian  red,  and  dip  them  into  it.  When  perfectly 
dry,  dip  them  in  thin  black  varnish  ; if  the  varnish  be  too  thick, 
dilute  it  with  spirits  of  turpentine.  W^hen  dry,  they  will  have  the 
color  of  rosewood. 

Take  gum  shellac,  and  the  night  before  you  wish  to  use  it,  pour 
on  sufficient  alcohol  to  dissolve  it.  Dip  the  flowers  and  leaves  into 
this  solution,  taking  care  not  to  have  it  too  thick.  K not  stiff 
enough,  dip  them  a second  time.  Put  them  on  a board  to  dry  in 
the  sun,  as  the  drying  by  a fire  will  have  a tendency  to  make  them 
sticky. 

Paint  your  frame,  or  whatever  is  to  be  covered,  with  Venetian 
red  and  vinegar,  and  when  dry,  rub  it  smooth.  Varnish  with  thin 
black  varnish,  and  when  dry,  nail  on  the  leaves  and  flowers  with 
small  tacks,  and  paint  with  a solution  of  shellac  dissolved  in  al- 
cohol ; finally,  varnish  with  the  best  copal  varnish. 

Again,  for  general  purposes,  basil  leather  is  good.  Select  that  of 
an  even  texture  and  light  color. 

The  skiver  leather  is  used  for  grapes,  small  leaves,  and  delicate 
work.  (The  artist  will  find  that  the  sheep  skin,  easily  to  be  had, 
will  answer  all  purposes,  by  using  discretion  in  selecting  the  thick, 
soft,  or  thin  portions,  as  the  work  may  require.)  Place  a piece 
of  the  basil  leather  in  water  for  a moment ; press  it  in  a linen 
cloth  until  the  surface  dries.  While  damp,  cut  out  your  leaf  with 
scissors  or  a leather-cutting  knife.  Pasteboard  patterns  can  easily 
be  made  from  natural  leaves.  By  laying  these  patterns  upon  the 
leather,  the  leaves  can  be  readily  cut. 

Vein  with  a pointed  instrument,  by  marking  on  the  smooth  side 


LEATHER  WORK. 


259 


of  the  leather  ; then  bend  and  mold  your  leaves  as  you  wish 
them  to  appear  when  the  work  is  completed.  Dry  them  quickly  to 
harden  them. 

When  thoroughly  dry,  brush  all  over  with  prepared  stiffening, 
which  is  sold  in  convenient  sized  bottles.  After  this  process,  brush 
the  leaves  all  over  with  black  varnish ; two  thin  coats  are  sufficient. 

For  stems,  take  strips  of  basil  leather,  wet  and  roll  with  the  hand 
upon  the  table,  or  over  a wire. 

For  tendrils,  wind  the  leather,  while  wet,  around  a small  round 
stick  or  tool,  fastening  the  ends ; dry  quickly  by  the  fire ; remove 
from  the  stick,  and  apply  a coat  of  stiffening ; the  finish  is  the  same 
as  for  leaves. 

Grapes  are  very  handsome  in  this  work.  They  are  made  by  tying 
bits  of  cotton  or  wadding,  peas,  marbles,  etc.,  into  the  leather  with 
strong  thread,  then  putting  a piece  of  wire  through  the  part  which 
has  been  tied  up  for  the  stalk.  Stain  and  make  into  clusters,  taking 
care  to  conceal  the  part  tied.  All  fruits  and  flowers  are  stained, 
etc.,  precisely  in  the  same  manner  as  leaves. 

The  Frame.  — Have  a frame  made  of  well-seasoned  wood,  with 
the  outer  edge  thinner  than  the  inner,  though  this  is  a matter  of 
taste.  Size  it  all  over.  Let  it  dry 
for  an  hour  or  so.  Then  apply  a 
coating  of  oak  varnish  stain  ; when 
dry,  it  will  be  ready  for  use.  Com- 
mence by  attaching  the  stem  with 
small  tacks.  Suppose  you  have  a 
vine  ; cover  the  wood  with  the  foli- 
age as  naturally  as  possible.  Fasten 
with  strong  glue,  where  necessary. 

A narrow  gold  beading  gives  a fin- 
ished appearance  to  a frame. 


260 


LEATHER  WORK. 


It  is  impossible  in  our  limited  space  to  particularize  the  various 
articles  for  which  leather  work  is  adapted ; but  every  individual  of 
fertile  imagination  and  ingenuity  will  readily  perceive  the  uses  to 
which  this  art  can  be  applied.  We  give  a pretty  design  for  a 
watchstand. 


In  making  flowers,  cut  in  one  piece  wherever  you  can  ; the 
white  lily,  for  instance,  where  the  petals  may  be  squeezed  up  and 


glued  to  keep  them  in  place.  It  is  always  preferable  to  have 
a natural  flower  to  look  at.  A little  ingenuity  will  enable  the 


LEATHER  WORK. 


261 


learner  to  cut  the  leather  to  ad- 
vantage, and  the  fewer  the  pieces 
used,  the  simpler  the  work  will 
be. 

The  bud  of  the  white  lily  is 
made  by  folding  the  whole  corolla 
close  together. 

A convolvulus  may  be  made  by 
folding  and  stretching  the  leather, 
while  wet,  over  the  tool  used  to 
make  the  wax  convolvulus.  It 
is  very  pretty,  and  not  difficult  to 
make. 


1.  8, 


Roses,  camellias,  etc.,  can  all  be 
made  handsomely  by  a little  care 
and  ingenuity. 

Do  not  forget  our  favorite  the 
hap  vine.  To  make  it,  wind  a 
piece  of  leather  around  the  end 
of  a wire ; fasten  well.  Mold 
the  requisite  number  of  petals  in 
a convex  form,  and  glue  separately 
around  this  center. 

The  Fuschia.  — The  calyx  forms  the  external  part  of  this  flower, 
and  is  made  with  one  piece  of  leather  cut  as  in  the  figure.  The 
petals  within  this  are  four,  and  are  cut  out,  the  four  in  one  piece, 
in  the  form  of  the  dotted  line.  They  must  be  molded  into  shape, 
and  glued  to  the  stamina  inside  the  calyx,  so  as  to  alternate  with 
its  petals.  This  flower  has  nine  stamina,  and  they  are  cut  in  one 
piece  of  leather.  To  put  the  fuschia  together  : Cut  the  nine 

stamina,  and  attach  to  them  the  wire,  to  form  the  stalk  ; then 


262 


LEATHER  WORK. 


roll  the  four  petals  firmly  over  the  stamina  ; they  must  be  molded 
and  glued  round  the  stamina  and  stalk,  then  take  the  calyx  and 
roll  round  the  whole  ; the  leaves  must  be  ex- 
panded and  molded  as  in  the  diagram,  taking 
care  that  the  stamina  are  left  out,  as  in  the  nat- 
ural flower,  and  that  the  inner  petals  alternate 
with  the  leaves  of  the  calyx  ; to  make  the  buds, 
roll  up  the  calyx,  and  turn  the  ends  in,  not  in- 
serting any  stamina. 

The  Passion  Flower  is  composed,  in  leather, 
of  five  pieces.  Then  cut  out  the  corolla  of 
five  petals  with  the  rounded  ends ; cut  al^o 
a circular  piece  for  the  nectary,  which  must 
be  cut  all  round  with  the  knife  to  form 
the  radii,  the  center  having  many  small  cuts 
radiating  from  the  central  point ; when  turned 
upward,  in  putting  it  in  its  place,  it  forms  the 
fringe-like  appearance  around  the  pistil  seen  in  the  flowers. 


The  passion  flower  has  five  stamina,  with  ladle-shape  1 ends,  or 
anthers,  and  three  stigmas  a little  elevated  above,  and  turning  over 


LEATHER  WORK. 


263 


the  stamina ; the  anthers  and  stigmas  are  made  of  one  piece 
of  leather.  The  involucrum  is  formed  also  of  one  piece,  and 
the  three  leaves  are  laid  one  over  the  other,  as  in  the  annexed 
flower. 

To  put  together  the  various 
parts  above  described  and  form 
the  passion  flower,  begin  by 
doublmg  a piece  of  wire  over 
the  angles  of  the  stamina, 
twisting  it  underneath ; roll  a 
piece  of  skiver  leather  round 
the  wire  to  form  the  style  of 
the  pistil  and  the  stem  of  the 
whole  flower  ; then  turn  up  the 
three  stigmas  and  roll  a small 
piece  of  leather  round  them 
close  to  the  stamina,  and  turn 
them  over  ; this  being  done, 
place  the  nectary  on  the  stem,  taking  care  that  the  cut  portion 
in  the  center  be  arranged  upward  around  the  pistil.  The  petals 
are  next  placed  on  the  stem,  followed  by  the  calyx ; the  leaves 
of  the  calyx  must  alternate  with  the  petals  ; liquid  glue  must 
be  inserted  between  each  portion  of  the  flower  to  give  it  firm- 
ness. 

The  involucrum,  which  is  a sort  of  calyx,  is  put  on  the  stem 
last,  a little  way  below  the  true  calyx  ; Ave  may  just  add,  that 
all  the  leaves,  petals,  etc.,  with  the  exception  of  the  involucrum, 
must  have  the  smooth  side  of  the  leather  uppermost ; the  petals 
and  calyx  must  be  hollowed  out  Avith  the  modelling  tool  for  that 
purpose,  or  if  that  is  not  at  hand,  use  the  handle  of  the  veining 
tool,  and  laying  the  petals  and  also  the  calyx  on  a smooth  surface, 


264 


LEATHER  WORK. 


LEATHER  WORK. 


265 


rub  them  with  the  ivory  end  of  the  veining  tool  till  they  become 
hollow  and  smooth,  as  in  the  natural  flower. 

The  above  is  the  way,  as  plainly  as  we  can  possibly  describe  it, 
to  make  e.  passion  flower.  We  have  repeatedly  made  the  flower 
exactly  upon  the  above  plan,  and  it  has  always  been  much  admired. 

Camellias  vary  in  the  form  of  leaves,  and  the  petals  vary  in 
number.  To  make  a camellia,  cut  out  two  pieces,  as  in  the  annexed 

diagram,  containmg  four  petals 
in  each  ; then  cut  out  one  or  two 
larger  pieces,  with  six  petals  in 
each,  and  one  or  more  still  larger, 
with  seven  or  eight  petals  ; then, 
having  a natural  camellia  at  hand, 
mould  them  all  into  form,  fasten 
all  the  pieces  of  leather  together, 
the  smallest  at  the  top,  and  the 
largest  at  the  bottom,  so  that  the  petals  alternate,  with  liquid  glue, 
and  put  a piece  of  wire  through  the  whole  for  the  stalk ; cover  it 
with  skiver  leather. 

To  make  the  Jessamine^  copy  the  corolla  from  the  annexed 
design,  by  cutting  a star-like  piece  of  basil,  into  which  insert  the 
wire  for  the  stalk  as  closely  as  possible.  As  the 
stamina  are  not  visible  in  this  flower,  it  is  need- 
less to  make  them.  The  tube  upon  which  the 
corolla  rests  can  be  made  by  rolling  a piece  of 
leather  round  the  wire  thickest  at  the  flower, 
and  then  add  another  piece  of  leather  about  an 
inch  below  the  corolla,  which  must  have  five  fine- 
pointed  leaves  for  the  calyx. 

The  Daisy  is  formed  by  making  two  pieces  of 
leather  like  the  pattern,  one  larger  than  the  other,  and  putting 


266 


LEATHER  WORK. 


the  wire,  for  stalk,  through  both  of  them.  The  lit- 
tle golden  center  of  the  daisy  can  be  well  imitated 
by  placing  a round  piece  of  leather,  rather  thick,  in 
the  center,  shaved  off  at  the  edges,  and  marked  with 
the  veining  tool  full  of  dots. 

A Wild  Rose  is  made  by  cutting  out  two  pieces 
of  leather,  exactly  as  in  the  engraving,  putting  the 
wire  through  two  holes  made  in  the  center  of  the 
pieces  with  a fine  brad-awl,  and  pass  a piece  of  wire 
through  the  holes,  leaving  both  ends  of  the  wire  at 
the  back  to  be  twisted  for  the  stalk.  To  form  the  stamina,  cut  fine 

strips  of  leather  as  long  again  as 
the  stamina  are  required  to  be,  and 
insert  them  under  the  eye  of  the 
wire  which  forms  the  stalk ; then 
cut  the  stamina,  and  pinch  them 
up  into  form.  The  top  piece, 
containing  five  petals,  must  be 
molded  and  curved  upward,  in- 
losing the  stamina  ; the  bottom 
piece  also,  containing  five  petals,  must  be  molded  downward, 
curving  and  bending  them  into  form. 

To  make  a larger  rose,  cut  out  a smaller  piece  than  is  shown  in 
the  engraving,  of  the  same  form,  also  the  two  in  the  engraving, 
and  a larger  piece  of  the  same  form,  making  four  pieces,  containing 
twenty  petals  ; then  proceed  as  before  mentioned,  and  a fuller  rose 
is  produced  ; thus  the  character  of  the  flower  and  the  number  of 
petals  can  be  regulated  with  comparative  ease. 

The  rose  leaves  can  be  molded  at  the  back  by  pressing  them 
into  the  grape  mold  with  one  of  the  pressing  tools. 

Oak  and  Ivy  Bracket.  — The  bracket  annexed  is  of  an  unu- 


LEATHER  WORK. 


267 


sually  pretty  pattern,  and  we  give  two  diagrams.  The  vine  and 
the  convolvulus  pattern  are  much  used,  with  very  beautiful  effect. 
We  intended  this  design  to  exhibit  old  oak.  It  should  be  stained 
very  dark,  the  oak  stems  being  very  thick,  while  the  stems  of 
ivy  can  be  formed  of  tendrils.  To  make  the  oak  stem,  get  very 


thick  wire,  and  have  it  cut  to  the  desired  lengths ; then  cover  the 
wires  with  leather,  and  bend  them  to  resemble  gnarled  oak ; 
attach,  as  naturally  as  possible,  oak  leaves  and  acorns  at  the 
back  of  the  wires,  and  on  the  wood  work,  as  shown  in  the 
skeleton  bracket  in  a former  part  of  this  work  ; then  attach  the 
ivy  tendrils,  leaves,  and  berries  around  the  oak  stems,  and  the 
bracket  is  completed. 


268 


LEATHER  WORK. 


It  improves  the  appearance  of  any  piece  of  ornamental  work, 
to  give  the  whole  when  completed  a slight  coat  of  varnish. 

Card  Racks  can  be  made  in  a variety  of  ways.  The  design 
here  exhibited  is  novel,  and  at  the  same  time  very  useful.  The 
back  is  made  either  with  wood  or  calf-skin 
leather  ; and  the  leaves  forming  the  rack 
are  also  made  of  the  same  material.  Calf- 
skin dries  very  hard,  being  treated  exactly 
the  same  as  the  basil  leather  ui  the  manner 
of  working. 

The  Round  Open-work  Frame.  — The 
beautiful  design  on  the  opposite  page  is 
made  with  a round  frame  of  any  width 
desired,  having  two  rebates,  one  inside  and 
one  outside  the  frame  — the  inside  rebate 
being  to  admit  the  picture,  and  the  outside 
one  to  allow  of  the  nailing  firmly  to  the 
frame  the  open-work,  which  is  to  be  made 
in  the  following  manner  : Take  a flat  board, 
— an  ironing  board  will  do,  — lay  the  frame  upon  it,  and  with  a 
black  lead  pencil  or  a piece  of  chalk,  mark  the  size  all  round, 
making  allowance  for  the  rebate ; then  having  ready  the  stems, 
work  them  in  and  out,  so  as  to  form  the  open-work  as  in  the 
drawing ; when  finished,  nail  it  to  the  frame,  and  work  stems  and 
tendrils  of  the  vine,  hop,  passion  flower,  or  any  other  beautiful 
creeping  plant,  attaching  the  fruit  or  flowers  in  an  artistic  manner, 
and  the  result  will  be  one  of  the  most  elegant  frames  ever  beheld. 

The  open  or  trellis- work  of  this  frame  should  have  stout  wire 
inclosed  in  the  basil  leather,  and  in  order  that  it  may  not  appear 
formal,  wind  pieces  of  leather  round  the  naked  wire  at  irregular 
intervals,  to  resemble  knots,  etc, ; then  cover  the  whole  with  basil 


LEATHER  WORK. 


269 


leather.  The  stem  and  tendrils,  which  are  to  wind  in  and  out,  and 
are  a portion  of  the  plant,  are  not  to  have  wire  in  them. 

Fire  Screens  are  generally  filled  with  Berlin  wool,  or  some 
other  fancy  needlework.  Those  who  would  prefer  to  have  an  entire 


piece  of  leather  -w  ork,  can  paint  landscapes  or  flowers  upon  white 
leather,  using  the  same  medium  as  is  used  in  body  color  painting, 
mixed  with  finely-powdered  colors. 


270 


LEATHER  WORK. 


A little  ingenuity  will  enable  any  one  to  make  very  pretty 
and  useful  Baskets.  One  like  the 
following,  ornamented  with  rose 
sprays  outside,  can  be  lined  inside 
with  velvet,  and  little  pockets  being 
made  in  the  velvet  lining,  they  be- 
come a very  useful  article.  The 
outside  is  stained  in  imitation  of  oak. 

The  Running  Border  here  given  can  be  adapted 
to  ornamenting  cornices,  poles,  frames,  etc.  It  is 
very  easy  of  imitation,  and  will  well  repay  the 
artist. 

We  close  this  article  with  a beautiful  design  for 
a Table.  It  is  made  in  four  pieces,  so  that  one 
part  can  be  done  at  a time,  and  when  completed, 
can  be  removed  until  the  whole  is  completed, 
when  it  can  be  put  firmly  together,  and  forms  a 
solid  example  of  the  use  and  beauty  of  the  orna- 
mental leather  work. 

In  making  Acorns,  procure  some  natural  acorn  cups,  — choose 
such  cups  only  as  are  perfectly  sound,  — then  pierce  two  holes 
through  the  bottom  of  the  cup,  pass  a piece  of  fine  wire  through 
the  holes,  leaving  the  two  ends  long  enough  to  be  twisted  into  a 
stalk.  If  the  stalk  is  to  be  exposed,  it  must  be  covered  and  made 
fast  with  liquid  glue.  The  most  correctlj’’  formed  acorn  tops  are 
those  turned  in  wood,  which  can  be  firmly  placed  in  the  cup  by 
the  aid  of  the  liquid  glue.  This  completes  the  fully-formed  acorn. 
A slight  variation  of  this  method 'is  suitable  for  cherries  and  grapes. 

The  Size  for  Stiffening.  — Simmer  four  ounces  of  strips  of  parch- 
ment in  eight  ounces  of  Avater  till  it  is  reduced  one  half ; skim  off 
any  impurities  that  may  arise  to  the  surface,  then  strain  through  a 


LEATHER  WORK. 


271 


fine  sieve,  or  cloth,  into  a basin  ; leave  it  till  cold,  when  it  will  be 
firm  and  clear.  When  required  for  use,  cut  off  as  much  as  you 
want,  and  warm  it.  Use  while  warm. 


A thin  glue  size  of  a light  color  will  answer  when  the  above 
materials  are  not  handy. 

In  this,  as  in  all  other  kinds  of  fancy  work,  every  thing  depends 
upon  the  neatness  of  the  work.  You  must  not  only  arrange  taste- 


272 


LEATHER  WORK. 


fully,  but  you  must  secure  every  leaf,  tendril,  and  flower  firmly ; 
and,  above  all  things,  do  not  crowd  together  such  a mass  of  work 
as  to  displease  the  eye  and  offend  good  taste. 

A very  pretty  effect  is  produced  by  gilding  and  bronzing  the 
leather.  Go  over  the  surface  of  your  leaf  or  petal  with  a camel’s 
hair  pencil  dipped  in  gold  size,  and  when  so  dry  that  it  will  stick  to 
the  finger  lay  on  your  gold  leaf  or  gold  bronze  as  in  directions 
for  bronze  painting,  on  another  page. 

In  painting  leather  work,, use  finely-powdered  colors,  mixing 
them  to  the  consistency  of  cream,  by  using  the  white  of  an  egg  with 
two  ounces  of  distilled  vinegar.  Keep  this  in  a botde,  and  shake 
it  well  whenever  you  wish  to  mix  colors  with  it.  Colors  can  be 
also  mixed  with  warm  parchment  size,  or  with  a Aveak  solution  of 
gum  arabic.  In  all  of  these  methods  apply  a coat  of  quick  drying 
pale  varnish.  Oil  colors  are  not  suited  to  this  kind  of  material. 


WAX  WORK. 


HE  tools  requisite  in  this  delightful  branch 
of  ornamental  work,  are  as  follows,  and 
as  the  learner  advances  in  knowledge  and  experience, 
he  will  easily  originate  other  forms  and  models  from 
which  to  make  particular  designs  ; — 

A “ dipper,”  or  “ plunger,”  (for  sheeting  the  wax,) 
made  of  lignumvitse,  or  some  very  close-grained,  hard 
wood,  as  smooth  as  glass,  from  four  to  six  inches  ir 


173 


274 


WAX  WORK. 


diameter  across  the  face,  (which  should  be  slightly 
convex.) 

Melding  sticks  of  this  form,  and  of  two  or  more 
sizes. 


One  of  this,  for  convol- 
vulus. 

One  of  this,  for  lily  of 
the  valley,  and  centers  of 
flowers. 

One  of  this,  for  the  lilac 
and  cups  of  jonquil. 

If  you  wish  to  make  other  varieties  of  bell  flowers, 
get  the  sticks  turned  by  some  skillful  workman,  from 
natural  flowers  ; they  should  be  very  hard,  and  as  smooth 
as  possible. 

The  brushes  used  in  painting  the  smooth  surface  of 
flowers  are  the  round,  stiff,  bristle  brushes,  called  scrubs, 
or  theorem  brushes.  For  fine  lines,  spots,  etc.,  take  fine 
camel’s  hair  pencils. 

Wire  of  three  different  sizes,  annealed. 


WAX  WORK. 


275 


To  PREPARE  Wax  for  Flowers.  — Take  the  very  best  quality 
of  white  wax,  and  melt  it  slowly  in  an  earthen  vessel  or  porcelain 
porringer ; when  melted,  stir  into  it  one  table- spoonful  of  fir  balsam 
to  every  cup  of  melted  wax. 

Have  at  hand  a basin  of  warm  soap  suds,  fine  towels  or  rags,  and 
your  dipper. 

AVTien  the  wax  is  melted,  wet  your  dipper  in  the  suds,  rub  soap 
all  over  it,  rinse  it  in  the  basin,  shake  off  the  water,  dip  Avith  a 
quick  motion  into  the  hot  wax,  so  as  barely  to  skim  the  surface, 
bending  the  dipper  over,  so  as  to  exclude  the  air  ; raise  your  dipper 
from  the  wax,  and  plunge  it  into  the  basin  of  suds.  A sheet  of 
thin,  semi-transparent,  flexible  wax  will  be  found  therein  of  the 
right  consistency  for  roses,  azalias,  and  all  flowers  of  similar  tex- 
ture. Continue  dipping  off  sheets  until  you  wish  to  change  the 
quality  of  the  wax  ; be  careful  that  the  wax  be  neither  bubbling  hot 
nor  cool. 

Japonicas,  orange  blossoms,  and  all  thick,  opaque  petals  require  a 
different  Avhite.  To  make  this,  we  put  into  the  wax,  when  hot,  a 
small  bag  of  flake  or  German  white ; never  more  than  one  third  of 
a tea-spoonful,  and  dip  as  before,  only  regulating  the  thickness  of 
the  wax  by  heat.  When  you  have  dipped  off  as  many  sheets  as  you 
require,  pour  the  rest  into  a well- soaped  cup  to  form  a lump  for 
pinks. 

Next  to  the  Avhite,  prepare  yellow  Avax  in  the  same  Avay  as  the 
Avhite,  only  using  yelloAv-poAvdered  chrome.  After  you  have 
made  the  yelloAv,  put  together  all  the  bits  and  edges  of  AA^ax  AA^hich 
you  have  pulled  from  the  sheets,  add  green  poAvdered  paint,  and 
dip  off  A'arious  shades  of  green,  from  very  light  to  very  dark.  Other 
colors,  as  red  and  blue,  may  be  prepared  in  the  same  Avay ; but  Ave 
prefer  painting  the  white  and  yelloAV  Avax  to  obtain  more  brilliancy 
of  tone. 


276 


WAX  WORK. 


The  melted  wax,  a ? for  japonicas,  is  used  for  bell-flowers.  Soap 
the  stick  very  thoroughly,  wash  off  the  particles  of  soap,  plunge 
your  stick  into  the  hot  wax,  then  into  the  suds.  In  taking  the 
stick  from  the  wax,  let  the  wax  drip  from  the  end  rather  than  the 
side.  We  think  it  best  to  plunge  the  stick  quickly  and  raise  it 
perpendicularly  ; in  this  way,  if  there  be  a little  extra  thickness,  it 
will  come  in  the  right  place. 

The  utmost  care  must  be  taken  with  the  lily  of  the  valley  ; be 
not  discouraged  if  you  dip  two  or  three  times  before  getting  a per- 
fect bell.  The  wax  must  be  hot,  without  simmer  or  bubble. 

Green  leaves  made  by  dipping  the  natural  leaf  into  the  hot 
green  wax,  then  putting  the  two  wax  sides  together,  with  a wire  be- 
tween, are  more  natural  than  when  cut  and  veined  ; but  they  tax 
the  patience,  and  require  more  time. 

Another  Method  of  -preparing  Wax,  — Melt  the  wax  in  a vessel 
of  hot  water ; the  wax  will  rise  to  the  top.  Put  in  fir  balsam, 
sweet  oil,  and  spirits  of  turpentine,  in  the  proportion  of  1,  2,  3,  — 
that  is,  one  part  turpentine,  two  oil,  and  three  balsam,  — six  tea- 
spoonfuls  to  a pint  of  wax  in  warm  weather,  and  one  third  more  in 
cold  weather.  Immerse  a junk  bottle  into  the  wax ; it  will  form 
around  it.  Cut  down  the  wax  on  the  bottle,  and  you  will  thus 
have  a strip  instead  of  a round  sheet  of  wax. 

We  prefer  the  former  to  the  latter  method  of  preparing  the  wax, 
though  we  use  both. 

To  make  Patterns  for  Flowers,  — Dissect  natural  flowers,  and 
cut  paper  patterns  from  their  petals,  writing  on  them  the  num- 
ber of  each  size  and  the  number  of  sizes,  likewise  the  color  desired. 

Flower  Making.  — Where  a flower  requires  fine  work 
or  minute  penciling,  the  sable  brushes  are  to  be  used  for 


WAX  WORK. 


277 


this  purpose,  and  they  will  be  found  essentially  neces- 
sary in  the  imitation  of  geraniums,  carnations,  heart’s- 
ease,  or  flowers  of  similar  character. 

Before  you  commence  cutting,  take  care  to  render  your 
scissors  loose  in  the  rivet.  Dip  them  constantly  in  the 
cup  of  water  at  your  side,  to  prevent  their  adhesion  to 
the  wax  ; should  they,  in  spite  of  this,  become  clogged, 
place  them  in  your  mouth  for  a few  seconds,  and  the  heat 
will  clear  the  edges  so  that  you  can  wipe  them  easily. 

You  will  perceive  that  the  wax  has  a dull  side  and  a 
glossy  one  — a right  and  a wrong. 

It  is  better  to  lay  the  paper  pattern  upon  the  dull  side, 
so  that,  in  cutting  out,  you  secure  a sharp  and  clear  edge. 
Be  cautious  that  you  place  the  pattern  in  such  a position 
as  to  cut  with  the  grain  of  the  wax.  Be  sure  to  cut 
the  same  number  of  petals  as  you  found  in  the  natural 
flower,  or  the  harmony  of  proportion  desirable  in  your 
flower  will  be  lost. 

Spread  half  a sheet  of  tissue  paper  over  the  table  upon 
which  you  intend  to  work,  so  as  to  prevent  the  slightest 
dust  or  impurity  of  any  kind  from  injuring  your  wax,  to 
which  every  particle  of  dust  will  adhere. 

As  we  have  remarked  in  speaking  of  painting  the 


278 


WAX  WORK. 


fruit,  the  stiff  brushes  are  held  perfectly  upright,  and  the 
color  applied  rapidly. 

Damask  roses,  fuschias,  camellias,  etc.,  may  be  painted 
with  crimson  powder  mixed  with  water  on  the  palette. 
(See  list  of  colors.) 

A bright  scarlet  for  poppies,  scarlet  dahlies,  etc.,  is 
obtained  by  painting  the  same  crimson  on  yellow  wax. 

'The  same  on  a light  lemon-colored  wax  gives  another 
beautiful  shade.  Various  shades  of  rose  tints  can  be 
gained  by  carmine  more  or  less  deep.  Sometimes  we 
paint  with  dry  powder.  If  the  wax  be  slightly  warm,  the 
powder  will  adhere,  and  a soft,  velvety  surface  be  pro- 
duced, such  as  can  not  be  made  by  the  use  of  the  water 
color  alone.  In  making  a bouquet,  you  need  the  various 
colors  and  surfaces,  if  you  will  be  true  to  nature.  Be 
very  careful  to  avoid  painting  that  portion  of  each  petal 
which  is  to  be  joined  to  the  foundation  of  the  flower,  as 
any  moisture  or  color  prevents  a secure  adhesion. 

To  make  a Pink  Rose.  — Lay  the  cut  paper  pattern  on  the 
wrong  side  of  the  wax,  cut  with  the  small,  sharp  scissors,  fre- 
quently dipping  them  in  warm  water,  or  putting  them  in  your 
mouth.  Paint  very  lightly  with  carmine,  leaving  the  lower  part  of 
the  petal  white.  Lay  a petal  on  the  palm  of  your  hand,  right  side 
down  ; press  the  head  of  the  wooden  pin,  first  on  the  right,  then  on 


WAX  WORK. 


279 


the  left  side,  endeavoring  not  to  press  the  middle.  This  will  give  a 
graceful  curl  to  the  petal,  as  you  will  observe  by  the  natural  one. 
Half- blown  roses  and  buds  need  to  be  curled  more  than  full- 
blown ones. 

Your  petals  painted  and  arranged  in  order,  proceed  to  make  the 
stamens.  This  is  done  by  binding  a strip  of  yellow  wax,  one  eighth 
of  an  inch  in  wddth,  on  a strip  of  white  wax,  nearly  one  inch  in 
width,  and  cutting  through  the  yellow  half  way  down  into  the 
white,  so  as  to  make  a fringe.  The  finer  you  cut  it,  the  better ; or 
you  can  cut  the  unbound  white  wax  ; then  dip  the  cut  ends  into  a 
solution  of  gum  arabic,  and  afterward  into  powdered  yellow  ; this 
w’ill  give  a pollen. 

The  calyx  is  cut  from  a suitable  shade  of  green,  and  from  a pat- 
tern taken  from  the  calyx  of  a natural  rose. 

For  the  leaves  take  two  shades  of  green  — one  for  the  upper,  the 
other  for  the  under  side  of  the  leaf;  put  them  together,  and  cut 
your  green  leaf  through  the  double  wax  ; insert  a wire  between  the 
two  parts  of  the  leaf  to  form  the  fibre  and  pedicle  of  the  same  ; 
then  press  the  two  sides  firmly  together,  and  serrate  the  edges  with 
your  sharp  scissors. 

The  leaf  has  a neater  finish  if  the  wdre  be  covered  with  wax  before 
inserting.  Take  a very  narrow  strip  of  wax,  lay  it  perpendicularly 
against  the  wire  ; then  twist  the  wire  round  and  round  between  the 
thumb  and  finger,  until  it  is  entirely  covered  wdth  a smooth  surface 
of  green. 

Observe  how  s^anmetrically  Nature  has  arranged  her  rose  leaves, 
and  try  to  imitate  — one  large  one  for  the  top  of  the  stalk,  two  a 
little  smaller  placed  just  below,  and  a third  pair  still  farther  down. 

Fine  wire  doubled  is  better  than  coarse,  stiff  wire.  Take  of  such 
a piece  the  desired  length  ; turn  the  end  over  two  or  three  times,  to 
prevent  the  flower  slipping  off  while  you  are  putting  it  together. 


280 


WAX  WORK. 


Cover  the  end  thus  bent  with  green  wax,  pinching  up  a bit  in  the 
center  for  a pistil ; wind  around  this  the  strip  of  fringed  wax,  and 
compare  with  the  natural  flower.  Now  set  around  the  petals, 
commencing  with  the  smallest  size ; press  the  lower  part  of  each 
petal  on  the  lump  which  is  around  the  wire.  Take  the  other  sizes 
one  after  the  other,  pressing  them  in  the  same  manner,  and  so  on 
till  all  are  used.  Work  down  the  lower  parts  of  the  petals  with 
the  small  end  of  the  molding  stick. 

Set  the  calyx  around  neatly,  and  cover  the  stalk.  You  will  have 
a rose  natural  and  beautiful  in  proportion  to  the  neatness  of  your 
work  and  the  accuracy  with  which  you  have  imitated  your  pattern, 
a natural  one. 

Persons  often  smell  of  our  roses,  then,  with  a look  of  astonish- 
ment, exclaim,  “ Why,  what  kind  of  a rose  is  it ! ” Nature  alone 
can  give  the  perfume. 

CameUia.  — After  modeling  a rose,  any  person  can  make  a 
japonica  by  having  one  to  look  at.  In  case  our  reader  has  none,  we 
give  these  directions. 

Cut  six  petals  from  each  of  the  heart-shaped  patterns  from  which 
you  cut  your  rose,  only  a trifle  longer.  Make  a ball  of  wax  on  the 
end  of  the  wire,  turned  as  before  to  prevent  the  flower  slipping  off, 
and  bend  over  it  eight  or  ten  of  the  smallest  petals ; then  place  three 
rows  of  the  succeeding  sizes  of  petals  turned  inward  around  the 
ball  in  the  center,  and  the  other  rows  turn  outward.  The  calyx  is 
of  light  green,  round  at  the  top  ; the  leaves  are  large,  brilliant, 
dark-green  color. 

Colored  japonicas  vary  only  in  color.  Crimson  painted  on  yel- 
low gives  a fine  color,  and  carmine  on  white  makes  a beautiful 
japonica. 

Convolindiis.  — Convolvuli  are  dipped  on  a stick  made  for  that 
l)urpose  from  the  .natural  flower.  Paint  the  veins  with  a fine 


WAX  VrORK. 


281 


brush.  Put  a bit  of  wax  on  the  end  of  a fine  wire,  and  cut  to 
imitate  stamens ; pierce  the  wire  through  the  tube  of  the  flower, 
twist  with  green  wax,  and  finish  off  with  tendrils  and  leaves. 
Tendrils  are  made  by  covering  a small  wire  with  wax,  and  twisting 
it  around  a molding  stick,  commencing  at  the  point,  and  turning  it 
round  and  round  from  the  center  of  the  stick  to  the  point,  to  form 
a spiral  cone.  A few  small  green  leaves  make  a pretty  finish. 

Lily  of  the  Valley.  — “ Consider  the  lilies,  how  they  grow  ; they 
toil  not,  they  spin  not,  and  yet  I say  unto  you,  that  Solomon 
in  all  his  glory  was  not  arrayed  like  one  of  these.”  Cut  the  edge 
of  the  little  white  bells  into  scallops,  turn  them  back  a little,  put 
a bit  of  yellow  wax  on  the  end  of  a bent  wire,  dip  it  in  gum  arabic, 
then  in  yellow  powder  for  pollen ; draw  the  wire  through  the 
center  of  the  flower,  and  twist  for  a stalk  with  very  delicate  light 
green.  The  leaves  are  too  large  and  stiff  to  be  pretty  in  wax. 

Violets  should  be  painted  with  a soft  brush ; they  require  much 
time  and  care. 

Orange  Blossoms  must  be  made  from  thick  wax  ; the  stamens 
cut  longer  than  for  a rose.  The  beautiful  white  buds  and  various 
green  leaves  can  hardly  be  equaled  by  any  other  flower  made  in 
wax.  They  are  pretty  wedding  presents  for  the  hair. 

Dahlia.  — Cut  the  petals  from  the  natural  flower;  roll  each 
petal  with  the  head  of  the  molding  stick  from  the  top  to  the  bot- 
tom ; draAv  a perpendicular  line  with  the  point  of  the  stick  through 
the  center  of  the  leaf,  and  curved  lines  on  each  side,  like  the  longi- 
tudinal lines  on  a globe ; turn  the  top  of  the  three  largest  sizes 
back  a little. 

As  this  flower  is  very  broad  at  the  base,  pass  your  Avire  doubled 
twice  through  a large  button  mold,  tAvist  it  firmly  underneath,  and 
cover  it  Avith  yellow  or  very  pale  green  Avax  ; roll  up  a small  bit  of 
yelloAv  Avax,  and  mold  it  to  the  center  of  the  button  ; press  closely 


282 


WAX  WORK. 


around  this  the  lower  end  of  a cut  fringe  of  yellow  wax  dipped  in 
gum  arabic  and  powdered  for  pollen ; around  these  stamens  mold 
the  twenty-five  or  thirty  small  petals.  Care  must  be  taken  to  keep 
them  pressed  very  closely  together,  and  as  the  surface  of  the  button 
becomes  filled,  wind  around  its  edges  strips  of  yellow  wax ; con- 
tinue to  set  the  petals  around  in  the  order  of  their  sizes,  keeping  a 
broad  surface. 

The  calyces  help  to  support  the  flower.  Below  the  two  rows 
of  flat  calyces,  place  five  nipped  at  the  ends  and  turned  back- 
ward. 

This  flo  wer  is  rather  difficult  to  put  together,  but  amply  repays 
the  labor  by  its  naturalness  and  beauty. 

Pmks.  — The  petals  may  be  cut  and  pointed  with  sharp  scissors, 
then  painted  with  a soft  brush,  or  with  the  dry  powder,  as  hereto- 
fore directed,  according  to  the  color  desired. 

Another  and  Better  Method.  — Paint  all  over  the  lump  of  wax 
which  you  have  run  in  the  cup  for  that  purpose ; then  scrape 
from  it  with  a sharp  penknife.  If  you  hold  the  knife  between  the 
thumb  and  fore  finger  of  the  right  hand,  and  begin  to  scrape  at  the 
center  of  the  knife,  leaving  off  at  the  point,  you  will  get  a beauti- 
fully variegated  pointed  petal,  smooth  on  one  side,  and  slightly 
quilled  on  the  other.  We  draw  a bit  of  quill  feather  over  the 
knife  for  the  two  stamens,  and  arrange  the  petals  around  in  order, 
beginning  with  the  smallest.  Finish  off  with  a pointed  calyx ; 
imitate  the  natural  one. 

Hyacinths  can  be  made  single  or  double,  of  various  shades  and 
colors.  Do  not  paint  the  lower  part  of  the  petals.  Boll  them 
from  the  top  to  the  bottom,  draw  a line  through  the  middle,  press 
it  on  the  under  side  to  make  a strong  indenture,  put  the  lower  part 
under  the  thumb,  and  turn  the  top  over  the  fore  finger  — easy  to 
make. 


WAX  WORK. 


283 


We  have  now  spoken  of  the  various  methods  which 
we  employ  in  making  flowers,  and  will  only  add,  that 
in  our  study  to  imitate  natural  flowers,  we  use  what- 
ever suits  our  purpose  best ; for  some  stamens,  as  those  of 
the  dahlia,  we  dry  the  center  of  a natural  dalilia,  and  use 
it  instead  of  the  cut  stamen.  Sometimes  we  dip  sewing 
cotton  into  hot  wax,  drawing  it  through  the  Angers ; 
this  is  good  where  the  filaments  are  long.  Again,  ma- 
nilla  grass  is  used,  as  it  is  stiff  as  well  as  delicate. 

If  we  wish  to  represent  a petal  having  one  color  on 
one  side,  and  one  on  the  other,  as  the  white  lily,  which 
is  green  and  white,  we  put  a piece  of  thin  white  mus- 
lin between  green  and  white  wax,  and  cut  the  petal 
through  the  two  ; this  interlining  gives  a clear  green 
on  one  side,  and  a clear  white  on  the  other  ; the  same 
may  be  done  with  other  colors,  as  the  buff  and  pink 
for  honeysuckles. 

White  Passion  Flowers. — To  form  the  three  purple  anthers  to 
be  seen  on  the  top  of  the  pistil,  roll  white  wax  round  fine  wires  of 
about  three  quarters  of  an  inch  in  length,  till  the  proper  size  and 
length  are  obtained,  remembering  to  make  them  thicker  as  you 
approach  the  top,  which  in  itself  is  nearly  globular. 

Color  these  anthers  wfith  the  darkest  shade  of  purple,  and  twist 
the  ends  of  the  three  wires  together. 


284 


WAX  WOEK, 


In  order  to  form  the  pistil,  place,  one  over  the  other,  a sufficient 
quantity  of  light  green,  light  yellow,  and  white  wax,  the  latter  be- 
ing intended  for  the  outside ; roll  these  together  round  second  sized 
wire  into  the  desired  shape,  the  top  being  thicker  than  the  base, 
which  terminates  in  a globe  of  lemon- colored  wax,  representing  the 
ovary  or  seed'  cup. 

The  three  purple  anthers  are  placed  on  the  crown  of  the  pistil,  so 
that  their  tops  are  equidistant  from  each  other,  forming  a triangle, 
the  sides  of  which  are  about  an  inch  in  length. 

Five  ladle-shaped  stamens  are  next  formed  from  the  same  union 
of  wax  as  used  in  the  pistil,  properly  cut  by  the  pattern,  curled  and 
united  to  the  stem  of  the  pistil,  having  been  previously  colored 
round  the  edges  with  yellow. 

Cut  a piece  of  white  wax  into  a fine  fringe  about  half  an  inch 
deep  and  two  inches  long ; color  the  fringe  with  a rich  deep  pur- 
ple, and  roll  it  round  the  ovary,  turning  the  purple  portions  over 
the  globe,  and  touching  the  pistil. 

Double  a piece  of  white  wax  the  same  length  as  before,  and  snip 
the  edge  with  the  point  of  the  scissors  about  the  twentieth  part  of 
an  inch  ; this  short  fringe,  being  colored  purple  upon  its  edge,  is 
rolled  close  to  the  base  of  the  preceding  piece. 

The  rays  are  formed  from  a double  piece  of  white  wax,  and  cut 
in  fine  shreds  to  pattern ; roll  each  between  your  finger  and  thumb, 
as  for  a stem,  and  when  all  are  rolled,  place  them  upright,  and  close 
to  each  other,  upon  a strip  of  white  wax  about  two  and  a half 
inches  long 'and  half  an  inch  deep,  taking  care  that  the  rays  are  so 
placed  that  their  points  extend  about  three  quarters  of  an  inch 
above  the  strip. 

We  now  proceed  to  color  the  points  with  blue,  leaving  the  centers 
white,  and  tinting  the  base  with  purp  le. 


WAX  WORK. 


285 


This  done,  bend  the  points  backward,  and  arrange  the  rays  round 
the  portions  already  attached  to  the  seed  cup. 

Place  one  sheet  of  lemon-colored  wax  between  two  of  white,  and 
from  this  cut  the  petals.  Color  them  on  either  side  with  light 
green  ; curl  upon  the  uncolored  side  - ~ first  with  the  head  of  the  stick 
round  the  edges,  and  then  once  down  the  center. 

The  calyx  is  cut  from  light  green  wax,  and  curled  upon  the 
glossy  side. 

After  placing  the  petals  so  as  to  form  a double  star,  proceed  to  roll 
green  wax  round  the  stem  formed  of  wire. 

The  passion  flower  is  a native  of  Brazil,  where  it  at- 
tains a luxuriance  of  growth  unknown  to  our  temperate 
regions.  The  legend  connected  with  it  has  given  it  an 
interest  almost  sacred,  even  when  viewed  by  other  eyes 
than  those  of  superstitious  devotees. 

It  is  said  that  certain  Jews,  bewailing  in  Jerusalem 
the  death  of  Christ,  saw  for  the  first  time  this  flower, 
by  some  said  to  have  sprung  wherever  drops  of  his 
blood  had  fallen,  and,  with  the  scene  of  his  wondrous 
passion  and  death  still  fresh  in  their  memory,  gave  to 
this  beautiful  blossom  a symbolic  meaning,  indicative  of 
his  sufferings  and  the  manner  of  his  death. 

The  anthers  are  supposed  to  represent  the  three  nails 
used  at  the  crucifixion. 

The  rays  represent  the  glory  of  our  Lord.  The  purple 


286 


WAX  WORK. 


fringe,  sometimes  found  with  red  spots  upon  it,  is  a type 
of  the  crown  of  thorns. 

The  petals,  ten  in  number,  are  the  representatives 
of  those  apostles  who  were  faithful  to  their  heavenly 
Master. 

The  three  sepals  forming  the  calyx  are  emblematic 
of  the  Trinity. 

This  poetical  conception  has  caused  the  passion  flower 
to  be  held  in  esteem  almost  amounting  to  veneration 
in  Catholic  countries  ; and  the  blossom  is  found  en- 
twined in  many  cases  with  emblazoned  inscriptions,  and 
borders  of  old  manuscripts  of  the  sacred  writings. 

Who  does  not  love  the  passion  flower  ? And  who, 
among  God’s  children,  does  not  recognize  his  glory  in 
every  flower  that  grows  ? The  anemone,  the  buttercup, 
the  daisy,  the  violet,  all  lead  our  thoughts  to  him,  and 
we  are  forced  to  cry  out,  “ How  wondrous  are  thy 
works,  O God  ! ” 

Wax  Fruit.  — Some  people  use  the  poorer  kinds  of 
wax  for  fruit,  thinking  to  economize  ; but  our  experience 
has  taught  us  that  the  best  is  the  cheapest,  and  there- 
fore we  get  the  best  the  market  affords.  We  melt  the 
wax  in  small  earthen  or  stone  pitchers,  putting  a white 


WAX  WORK. 


287 


muslin  bag  of  paint,  say  one  third  of  a tea-spoonful,  into 
the  hot  wax.  For  lemons,  yellow  apples,  peaches,  etc,, 
we  use  yellow  or  lemon  powdered  chrome  ; for  oranges, 
- orange  chrome  ; for  green  apples,  cucumbers,  green  pears, 
etc.,  green  chrome,  varying  the  shades  according  to  what 
we  desire  to  make. 

The  wax  should  never  be  heated  to  boiling,  neither 
should  it  be  made  thick  with  the  powdered  paint.  If 
a sufficiently  dark  color  can  not  be  obtained  by  the  use 
of  the  little  muslin  bag,  then  add  oil  paint  of  the  de- 
sired shade  from  the  tubes.  Our  boxes  of  oil-colors 
contain  all  that  are  necessary. 

For  a rich  plum,  for  example,  we  color  the  wax  with 
drop  red  powdered,  and  add  rich  dark  blue,  or  purple, 
from  the  tube. 

Oil  the  inside  of  the  mold  by  gently  patting  it  with 
a bit  of  cotton  batting  dipped  in  lamp  oil  and  tallow, 
as  before  mentioned.  Place  the  mold  so  that  you  can 
see  how  to  bring  the  locks  together  in  an  instant. 
Hold  one  half  the  mold  firmly  in  your  left  hand ; with 
the  right  hand  pour  into  it  the  melted  wax  from  the  pitch- 
er ; shut  the  empty  half  over  it  as  quickly  as  possible, 
and  holding  the  mold  with  both  your  hands,  press  the 


288 


WAX  WORK. 


two  sides  together,  turn  round  and  round  and  shake  in 
every  direction,  until  you  can  no  longer  hear  the  mo- 
tion of  the  wax ; then  set  the  mold  aside  to  cool. 
While  you  are  waiting  for  that  piece  of  fruit  to  cool, 
mold  others  in  the  same  way. 

If  one  person  is  to  work  alone,  and  wait  upon  him- 
self, we  advise  him  to  make  fruit  of  but  one  color,  say 
yellow,  as  in  peaches,  yellow  apples,  lemons,  yellow  pears, 
crab  apples,  until  he  has  acquired  some  skill,  and  is  able 
to  move  quickly  and  manage  many  things.  Before  pour- 
ing the  heated  wax  into  the  mold,  try  it  by  placing  a 
thin  bit  on  the  surface  of  the  melted  wax  ; if  it  melts 
immediately  it  is  too  hot,  and  will  spoil  the  mold  ; if 
it  floats  on  the  surface,  slowly  melting  at  the  edges,  it 
is  all  right.  To  have  the  fruit  look  well,  the  wax  must 
be  neither  too  hot  nor  too  cold. 

In  from  ten  to  fifteen  minutes  the  mold  will  feel  cool 
to  your  hand,  when  you  can  open  it  and  take  out  the 
fruit ; scrape  away,  in  a slanting  direction,  the  seam 
where  the  two  parts  of  the  mold  united ; after  which, 
rub  it  with  a soft  rag  dipped  in  turpentine. 

The  fruit  being  nicely  clean,  smooth,  and  without 
cracks,  proceed  to  paint  it  with  a bristle  brush,  of  which 


WAX  WORK. 


289 


you  must  have  half  a dozen,  as  you  must  always  use 
the  same  brush  for  the  same  color. 

Take,  with  a small  palette  knife  or  spatula,  out  of  the 
bottle,  a minute  portion  of  the  color  required  ; if  you 
have  a peach,  for  instance,  take  carmine,  dip  the  end  of 
the  brush  stick  into  water,  letting  the  end  of  the  globule 
fall  upon  the  palette  near  the  powder,  and  mix  well  to- 
gether, until  the  tint  be  of  the  consistency  of  cream,  and 
perfectly  smooth.  We  must  caution  against  dipping 
the  body  of  the  brush,  or  bristles,  into  water.  The 
brushes  used  are  held  upright,  and  the  color  applied 
rapidly. 

If  possible,  have  a natural  peach,  and  try  to  imitate 
it  in  color. 

For  the  down  of  the  peach,  put  some  dry  flour  on  the 
palms  of  your  hands,  roll  the  peach  between  your  hands 
until  every  part  be  covered  with  the  flour ; after  which, 
the  peach  should  be  as  little  handled  as  possible. 

To  have  a variety  in  your  peaches,  paint  some  a little 
green  or  brown  ; a brown  spot  now  and  then,  has  a 
good  effect. 

Oranges  and  lemons,  eggs  and  plums,  need  no  out- 
side painting. 


290 


WAX  WORK. 


Red  apples  are  painted  over  the  yellow  wax,  and  can 
be  nicely  finished  up  with  the  camel’s  hair  pencil;  for 
the  apple  calyx,  insert  a bit  of  carbonated  paper,  tobacco, 
or  tea  leaf ; for  the  stem,  take  a natural  one.  Finish 
your  apple  by  rubbing  it  with  the  hand  till  it  shines  ; 
or,  what  is  better,  varnish  it  with  fine  copal  varnish. 

Tomatoes  are  handsome,  and,  provided  you  get  a nice 
mold,  they  are  easily  made.  Various  small  fruits,  as 
barberries,  strawberries,  etc.,  are  formed  with  the  fingers, 
and  stuck  with  beads  where  necessary.  Blackberries  are 
handsome,  if  made  with  care. 

Grapes.  — Many  persons  make  purple  grapes  by  put- 
ting a lump  of  wax  on  the  end  of  a bent  wire,  and  after- 
ward in  melted  rosin.  They  look  well  at  a distance,  if 
nicely  powdered  with  blue  paint ; but  we  prefer  forming 
them  of  purple  wax  entirely,  or  dipping  grape  glasses 
into  the  purple,  as  we  do  into  green  wax  for  green 
grapes. 

We  obtain  various  glass  globes  of  the  sizes  of  grapes, 
glue  fine  wire  into  each  of  them  for  a stalk,  and  plunge 
into  green  wax,  prepared  expressly  for  grapes,  as  atten- 
tion must  be  paid  to  their  color. 

Have  the  wax  very  hot,  and  dip  the  glass  globe  as 


WAX  WORK. 


291 


quickly  as  possible,  holding  uprightly  to  let  the  wax  run 
under  the  grape.  (Don’t  mind  if  the  hot  wax  makes 
your  fingers  tingle  ; you  want  a beautiful  bunch  of 
grapes  ; “ pay  for  a thing  and  have  it ; ” we  have  dipped 
two  hundred  without  stopping.)  Bunch  the  grapes, 
the  small  ones  at  the  end  ; wind  the  stalks,  and  finish 
up  with  tendrils  and  leaves. 

Having  good  molds,  it  will  be  easy  for  you  to  make 
wax  dolls,  birds,  sheep,  etc. 

Hold  the  mold  in  your  left  hand ; pour  the  melted 
wax  into  the  aperture.  As  soon  as  it  forms  around  the 
edges,  pour  back  into  the  vessel  what  remains,  and  set 
the  mold  aside  to  cool. 

To  color  dolls,  we  stir  a very  little  vermilion  into  the 
hot  wax  ; or,  what  is  better  still,  tie  it  up  in  a bit  of 
muslin,  and  paint  the  cheeks  with  the  stiff  brush,  in  the 
same  manner  as  rose  leaves. 

We  put  hair  on  their  heads,  and  insert  enameled  eyes 
or  beads,  according  to  the  size  of  the  doll. 

Before  concluding  our  article  on  wax  flowers,  we 
would  say  that  ladies  need  not  be  deterred  from  raakint^ 

o 

them  by  tlie  trouble  of  preparing  the  wax,  since  very 
nice  sheet-wax,  of  all  shades  and  colors,  and  of  different 


292 


WAX  WORK. 


thicknesses,  can  be  procured  at  any  artist-material 
store;  as  also  powdered  paints  and  bottles  of  adhesive 
mixtures,  to  use  with  water-colors  in  the  fine  pencilings 
of  such  flowers  as  pansies,  morning-glories,  &c.  These 
mixtures  are  superior  to  gum-arabic,  inasmuch  as  they 
are  less  liable  to  crack  than  gum  arabic. 

The  powdered  paints,  rubbed  carefully  on  the  surface 
of  the  wax  with  the  finger,  produce  that  soft  and  deli- 
cate texture  so  necessary  to  the  perfection  of  wax 
flowers.  And  here  it  may  be  well  to  describe  other 
methods  of  making  green  leaves,  in  which  we  have  been 
very  successful ; one  is,  to  soak  green  leaves,  say  rose- 
leaves,  or  those  of  a similar  texture,  in  soap  and  water 
for  a few  hours  ; shake  off  the  water,  and  plunge  the 
leaf  directly  into  hot  wax  of  the  desired  shade  of  green ; 
take  out,  and  remove  the  coating  of  wax  from  both  the 
upper  and  under  side  of  the  leaf ; put  the  two  together, 
with  a wire  between  them,  and  yon  get  a beautiful  leaf. 
Another,  less  perfect,  but  easier  method,  is  to  make  a 
mold  of  a natural  leaf,  either  of  plaster  or  by  pressing 
together  pieces  of  wax  in  a solid  lump,  and  getting  the 
impression  of  the  veined  side  upon  it ; then  cut  the  wax- 
leaf,  and  take  the  impression  from  it  or  the  plaster  mold. 


TAXIDERMY. 


over  the  whole  interior  with  arsenic, 


(a  deadly  poison:)  put  wires  from  the  head  to  the  legs 
to  preserve  the  natural  form,  and  stuff  immediately  with 
tow,  wool,  or  the  like.  If  allowed  to  dry  after  apply- 
ing the  arsenic,  the  skin  becomes  too  stiff  to  handle. 

Another,  and,  as  we  think,  a better  way  for  very  small 


231 


294 


TAXIDERMY. 


birds,  is,  “ after  taking  out  the  entrails,  to  open  a pas- 
sage to  the  brain,  which  must  be  scooped  out  through 
the  mouth ; introduce  into  the  cavities  of  the  skull  and 
the  whole  body  a mixture  of  salt,  pepper,  and  alum,  put- 
ting some  through  the  gullet  and  whole  length  of  the 
neck;  then  hang  the  bird  in  a cool,  airy  place  — first 
by  the  feet,  that  the  body  may  be  impregnated  by  the 
salt,  and  afterward  by  a thread  through  the  under  man- 
dible of  the  bill,  till  it  appears  to  be  sweet ; then  hang 
in  the  sun,  or  near  a fire.  After  it  is  well  dry,  clear 
out  what  remains  of  the  mixture,  and  fill  up  the  cavity 
of  the  body  with  wool,  oakum,  or  any  soft  substance.” 


PLASTER  WORK. 


REAT  care  is  necessary  in  regard  to  the 
consistency  of  the  plaster,  and  the  thorough 
greasing  of  the  molds. 

' Provide  yourself  with  the  best  ground 
French  plaster,  some  good  lamp  or  neat’s 
foot  oil,  (if  the  former,  add  a very  small 
bit  of  mutton  tallow,)  camel’s  hair  pen- 
penknife,  rags,  thick  brown  paper,  small 
bowls,  or  a box  of  sand,  and  w^ell  water. 

Wipe  such  fruit  as  you  have  selected  for  molds 
very  carefully,  and  remove  the  calyx  and  stems 
without  marring  the  skin.  If  you  wish  to  mold 
nuts,  or  fruit  having  a rough  surface,  (except 
oranges  and  lemons,)  it  is  best  to  grease  them  in  such  a manner 
that  all  the  surface  may  be  perfectly  smeared,  without  being  greasy. 

^lake  hollows  in  your  sand,  or,  as  we  think  preferable,  lay 
cloths  as  smoothly  as  possible  in  the  bowls  to  receive  the  plaster. 
You  will  see  the  advantage  of  the  rags  over  the  sand,  when  you 
finish  up  the  molds,  particularly  if  you  wish  them  to  look  very 
neatly  on  the  outside. 

Having  every  thing  at  hand,  (and  he  sure  that  you  do  have 
every  thing  ready,  for  the  plaster  will  not  wait  your  motion,) 
begin  to  mix  your  plaster  ; at  first,  take  but  little,  say  a 
half  pint  of  water  or  less  ; into  this  filter  your  plaster  until 
you  get  the  consistency  of  batter  for  cakes ; we  usually  mix 
with  an  iron  spoon.  Pour  the  plaster  into  the  hollows  in 

295 


296 


PLASTER  WORK. 


the  sand,  or  into  the  bowls  in  which  you  have  spread  the 
cloth  ; insert  just  one  half  of  each  piece  of  fruit  thus  : — 


the  exact  impression  of  the  fruit  on  the  inside,  and  on  raising 
from  the  cloth,  a pretty  smooth  outside  surface.  Now  trim  the 
edges,  cutting  the  plaster  horizontally  to  the  level  of  the  impres- 
sion on  the  inner  side  of  the  mold ; the  reason  for  this  will  be  ob- 
vious when  you  see  how  beautifully  the  parts  will  fit  together  ; now 
make  three  or  four  grooves  in  the  horizontal  plane  of  the  mold, 

thus:  we  make  one  oblong,  another 


the  edges  just  formed  by  your  knife. 

The  mold  being  now  thoroughly  oiled  with  the  brush,  except, 
of  course,  the  inside,  reset  the  fruit ; pin  the  thick  brown  paper 
around  the  mold  which  contains  it,  so  as  to  form  a case,  which 
must  be,  at  least,  two  inches  higher  than  the  fruit  as  it  stands  in 
the  mold. 

The  vessel  in  which  you  have  mixed  the  plaster,  as  well  as  the 
spoon,  being  perfectly  cleaned,  mix  again  ; this  time  pour  the 
plaster  into  the  paper  case ; it  will  cover  the  fruit  and  run  down 
the  grooves  forming  nice  locks  ; when  hard  enough  to  remove 
the  paper,  take  hold  of  the  plaster  with  both  hands,  and  pull 
the  two  parts  asunder,  remove  the  fruit  which  was  entirely  en- 
cased in  the  plaster,  and  you  will  have  a nice  mold  with  firm 
locks.  If  our  directions  are  carefully  followed,  there  will  be  little 
need  of  trimming  the  last  part. 


let  it  remain  until  the  plaster  is 
hard ; then  remove  the  fruit  with 
the  greatest  care.  K your  plaster 
was  properly  mixed,  you  will  have 


round,  one  large,  another  small, 
quite  unlike  for  convenience  sake ; 
this  done,  oil  every  groove  and  all 


PLASTER  WORK. 


297 


Should  there  be  a few  holes  in  your  mold,  mix  up  a little  fresh 
plaster,  and  insert  it  with  the  point  of  your  knife,  smoothing  and 
trimming  the  edges  with  your  fingers. 

The  molds  being  perfectly  made,  set  them  in  a warm  oven, 
or  in  an  airy  place,  to  dry  ; they  will  not  be  hard  enough  for 
use  for  three  or  four  weeks,  when  they  will  become  hard  as 
stone,  and  do  many  years’  service.  We  have  on  hand  some  peach 
molds  which  we  have  used  these  ten  years ; and,  for  aught  we 
know,  they  will  be  good  for  ten  years  to  come. 

Do  not  expect  to  make  the  very  best  molds  at  the  first  attempt. 
The  plaster  hardens  so  quickly  that  you  must  have  a little  prac- 
tice in  order  to  get  things  just  right.  Again,  if  you  stir  it  too 
much  or  too  little,  it  will  in  the  first  instance  lose  its  strength, 
and  in  the  second  be  lumpy.  Be  sure  to  have  every  thing  perfectly 
cleaned  at  every  mixing. 

We  recommend  Experience  as  the  best  of  teachers  ; she  has 
treated  us  very  kindly,  and  will  be  to  you  what  she  has  ever 
been  to  others. 

Sometimes  we  make  one  mold  in  three  or  four  pieces,  of 
course  mixing  fresh  plaster,  and  making  new  locks  for  every 
additional  piece. 

While  we  advise  you  to  mix  but  little  plaster  at  a time,  until 
you  can  mix  it  easily,  we  wish  you  to  have  several  things  in  readi- 
ness, that  you  may  use  up  all  you  mix.  About  a pint  of  the 
mixture  would  be  sufficient  for  the  half  mold  of  a middling 
sized  peach,  an  egg,  and  a nut ; therefore  it  is  best  to  have  as 
many  things  in  readiness,  otherwise  you  must  throw  away  your 
superabundant  mixture.  Now  that  we  have  told  you  how  to 
rrmke  molds,  wc  must  lead  your  attention  to  the  forms  of  the 
fruit,  or  whatever  you  intend  for  your  model. 


298 


PLASTER  WORK 


If  you  wish  to  make  a mold  from  an  ear  of  corn,  in  which 
the  grains  are  irregular,  it  will  be  almost  impossible  for  you  to 
make  it  in  two  pieces.  Try  it,  and  you  will  see  that  you  can  not 
get  the  ear  from  the  mold  without  breaking  it;  and  this  will 
teach  you  that  unless  the  model  can  be  easily  removed  from  the 
plaster,  it  is  worthless,  inasmuch  as  you  could  not  take  an  object 
in  wax  safely  from  such  a mold.  (See  engraving.) 

In  order  to  obviate  all  difficulty,  either  choose  such  fruits,  etc*, 
as  can  be  made  in  a mold  of  two  parts,  or  make  your  mold 
in  three  or  more  parts,  according  to  the  fruit. 

Molds  for  small  wax  dolls  can  be  made  in  two  parts,  the  doll 
placed  in  the  plaster  in  a lying  position. 

Molds  for  dolls’  heads  of  medium  size  may  be  made  in  two 
parts,  and  left  open  where  the  head  is  fastened  on  the  body.  Cut 
the  plaster  off  level  on  the  open  side. 

Molds  for  sheep,  lambs,  and  dogs,  (lying  down,)  also  for  human 
hands,  may  be  made  in  the  same  way.  If  you  wish  to  take  the 
mold  of  a hand,  be  sure  to  oil  it  nicely  (that  is,  to  oil  it  without 
leaving  oil  standing  on  the  surface)  before  laying  on  the  plaster ; 
leave  the  opening  at  the  wrist. 

When  you  have  succeeded  in  making  good  molds,  you  can  try 
your  skill  at  plaster  fruits  and  figures.  As  much  of  your  suc- 
cess will  depend  upon  the  non-adhesion  of  the  plaster  to  the 
model,  remember  the  oil  and  tallow. 

Mix  the  plaster  as  for  molds ; pour  into  the  mold  as  soon 
as  it  thickens  on  the  sides ; pour  out  that  which  remains,  if  you 
wish  your  mold  hollow. 

Should  you  wish  to  make  plaster  fruit,  you  must  cut  an  open- 
ing in  your  mold,  (while  it  is  fresh,  of  course,)  to  admit  the 
thin  plaster  being  poured  from  the  spout  of  the  vessel  in  which 
it  is  mixed. 


MOSS  WORK. 


299 


MOSS  WORK. 

OLLECTING  and  arranging,  in  va- 
rious forms  of  grace  and  beauty, 
the  delicate  and  many-colored 
mosses  with  which  our  fields  and 
forests  abound,  has  long  been  a 
favorite  pastime  with  all  lovers  of 
the  beautiful  in  nature.  A fertile 
imagination  and  inventive  mind 
will  readily  perceive  the  many  ob- 
jects for  which  moss  work  is  well 
adapted  — vases  neatly  and  tastefully  covered  with  delicate  mosses, 
arranged  with  an  eye  to  the  harmony  of  colors,  are  very  appropri- 
ate for  holding  dried  grasses  ; crosses,  little  towers,  “ ancient  and 
moss-grown,”  for  watch  stands ; frames  for  holding  collections  of 
leaves,  grasses,  or  flowers,  — indeed,  it  is  needless  to  particularize. 
Beautiful  landscapes  can  be  made,  closely  resembling  nature. 

Collect  all  the  varieties  of  wood  moss,  beautiful  bits  of  bark, 
and  dried  leaves,  within  your  reach.  Make  a design,  perhaps  of 
a landscape,  in  which  are  ruins,  bridges,  rocks,  etc.  Paint  a sky 
as  in  water  colors,  then  cut  and  glue  thin  bits  of  bark  and  moss 
on  the  ruins  ; moss  on  the  rocks  ; dried  algm  or  forest  leaves  on 
the  distant  mountains,  and  the  bright- colored  and  green  mosses,  of 
various  hues,  on  the  foreground.  Such  a landscape  is  calculated 
to  draw  out  the  ingenuity  of  the  pupil,  and  requires  no  little 
study,  and  when  well  done,  is  a very  pleasant  picture.  Set  in  a 
deep  frame. 


300 


SEA  WEED. 


SEA  WEED. 


HE  sea  shore  is  an  inexhaustible 
source  of  pleasure  and  instruc- 
tion ; and  to  one  w^ho  has  a taste 
for  the  beautiful,  or  who  loves  to 
search  out  the  wonders  of  the 
ocean,  and  trace  in  them  the  “foot- 
prints of  the  Creator,”  new  ave- 
nues are  constantly  being  opened 
for  the  acquisition  of  knowledge, 
and  the  means  of  rational  and 
elevating  pleasures. 

The  great  variety  of  sea  weeds,  their  beauty  and  delicacy,  and 
the  graceful  and  attractive  forms  in  which  they  can  be  arranged 
by  skillful  hands,  have  given  to  their  collection  and  arrangement  a 
deserved  popularity  among  all  frequenters  of  the  sea  shore  ; and  it 
is  a pleasant  sight  to  see  groups  of  children  and  adults,  wandering 
along  the  surf-worn  beach,  selecting  the  delicate  fringes  of  moss  ; 
and  afterward,  to  see  the  fruit  of  their  labors  arranged  in  beautiful 
groupings,  their  bright  colors  well  preserved,  and  the  whole  form- 
ing a picture  pleasing  to  the  eye  and  elevating  to  the  taste. 

After  having  collected  your  sea  weeds,  throw  them  into  fresh 
water ; cut  a piece  of  paper  relative  to  the  size  of  the  weed,  oil  the 
surface,  and  put  it  under  the  weed  you  are  about  to  lay  out ; 
spread  with  a camel’s  hair  pencil,  or  pick  apart  with  a pin  ; we 
prefer  the  former.  Great  care,  patience,  and  delicacy  of  handling 
are  necessary  in  this  process,  for  much  of  the  beauty  of  the  specimen 
depends  upon  preserving  the  minute  thread-like  fibers  of  the  weed. 


SEA  WEED. 


301 


Trace  out  each  thread,  separating  them  all,  and  giving  them  such  a 
position  on  the  paper  as  will  show  the  plant  to  the  best  advantage. 
Then  gently  raise  the  paper  from  the  water,  holding  it  in  a slanting 
direction  to  let  the  water  run  off.  Then  put  in  press.  A good 
way  to  make  the  press  is  to  put  three  layers  of  blotting  paper  on 
a board,  and  upon  this  place  your  specimens ; over  this,  muslin  or 
linen,  and  over  that,  paper  again,  and  then  another  board.  Dry  the 
paper  and  cloths  above  if  necessary  to  facilitate  the  process. 

Take  your  specimens  from  the  papers  and  arrange  on  paper  in 
bouquets,  wreaths,  or  what  you  like,  adjusting  them  according  to 
the  different  colors,  and  thus  obtain  a pleasing  variety  ; secure  the 
ends  neatly  with  gum  arabic.  It  is  well  to  brush  over  the  coarser 
kinds  of  algae  with  spirits  of  turpentine,  in  which  a very  little  gum 
mastic  has  been  dissolved. 

Having  arranged  beautiful  specimens  of  moss  and  sea  weeds,  w’e 
sometimes  cut  a very  small  basket  through  the  middle,  and  sew  it 
on  the  paper  in  front  of  our  specimens ; then  we  fill  our  basket  with 
various  kinds  of  moss,  which,  standing  out  in  relief  against  that 
gummed  on  the  paper,  presents  a basket  of  moss  to  the  admiring 
eye  of  the  lover  of  nature. 

“ There ’s  beauty  in  the  sea.” 

A lady  of  our  acquaintance,  who  has  been  in  the  habit  of  spend- 
ing much  time  in  collecting  sea-wTcds,  tells  us  that  she  filled  no 
less  than  forty  little  baskets  with  moss,  in  one  season,  for  presents 
to  friends.  We  are  so  happy  as  to  have  one  of  them  hanging 
in  our  parlor,  which  does  great  credit  to  the  artist,  so  beautiful  are 
the  combination  of  colors  and  the  delicacy  and  taste  displayed  in 
their  arrangement. 


302 


HAIR  WORK. 


HAIR  WORK. 

make  hair  flowers  we  need  live 
hair,  that  is,  hair  from  the  head 
of  a living  person ; annealed 
wire,  very  fine ; pearl  or  gold 
beads,  scissors,  a pair  of  pinchers, 
a bit  of  whalebone,  and  knitting 
needles  of  three  sizes.  Brush  the 
hair  as  smoothly  as  possible,  and 
tie  in  bunches.  Double  a piece 
of  wire  in  the  middle,  and  twist 
about  two  inches. 

Let  us  begin  with  a leaf.  Take  the  twisted  wire  between  the 
thumb  and  fore  finger  of  the  left  hand  for  a handle,  as  it  were  ; 
fasten  to  this  the  ends  of  a thin  strand  of  smooth  hair  : (it  is  well 
to  draw  it  several  times  between  the  thumb  and  finger  to  make  it 
glossy  ) 

Bend  the  ends  of  the  wire  to  the  right  and  left ; then,  holding 
the  end  of  a knitting  needle  horizontally  over  the  twist  of  the  wire, 
pass  the  strand  of  hair  around  the  needle,  and  fasten  it  by  crossing 
the  wires  below  to  the  right  and  left.  So  continue  till  you  have 
woven  sufficient  for  the  leaf.  Slip  from  the  needle,  and  you  have 
nice  loops  neatly  fastened  by  a fine  wire  much  resembling  gimp. 
Bend  this  into  the  desired  shape,  twist  the  ends  of  the  wire,  and 
cover  with  silk  braid  as  near  the  color  of  the  hair  as  possible. 
The  leaves  may  be  made  of  different  sizes,  and  varied  by  the  size  of 
the  knitting  needle. 

To  make  daisies,  asters,  etc.,  turn  this  looped  wire  round  and 
round  to  present  a flat  surface  ; make  firm  by  fine  wire  underneath. 


HAIR  WORK. 


303 


It  is  well  to  have  a pattern.  If  you  can  not  see  hair  flowers,  take 
natural  ones,  and  by  fastening  strands  of  hair  to  a wire,  and  binding 
with  floss,  endeavor  to  imitate  Nature. 

With  the  pinchers  you  make  your  wire  fast,  and  with  the  whale- 
bone you  obtain  the  desired  width  of  a petal  by  laying  the  hair  over 
it.  Thus,  for  a pansy,  smooth  a short  strand  of  hair,  fasten  one  end 
to  a bit  of  wire,  then  pass  the  hair  over  the  whalebone,  winding  to 
the  same  wire,  but  lower  down ; this  makes  it  firm,  and  enables  you 
to  give  it  what  form  you  like,  by  bending  the  wire.  Make  five  of 
these  petals,  and  set  them  around  a wire  having  a pearl  bead  on 
its  end. 

Forget-me-not  is  a pretty  little  flower,  and  easy  to  make;  put 
a gold  bead  in  the  middle. 

Roses  require  much  time  and  great  care  ; buds  are  easily  made. 

Many  persons  moisten  the  hair  with  oil ; but  our  experience 
teaches  us  that  the  work  is  much  more  durable  and  neater  when 
smoothed  by  the  friction  of  the  fingers. 

As  it  is  often  necessary  to  economize  the  hair  as  much  as  possible, 
it  is  well  to  state  that  as  a general  rule  a piece  of  hair  work  is 
half  the  length  of  the  hairs  which  make  it.  If  you  have  but  a 
scant  pattern,  use  the  short  hairs  first,  not  the  shortest,  but  begin- 
ning with  those  perhaps  of  five  inches  in  length,  and  then  taking 
those  which  are  longer. 

Practice  in  this  art  is  of  more  value  than  precept.  The  artist 
will  find  the  difficulties  gradually  disanpear  as  the  work  is  perse- 
vered in,  and  to  study  specimens  of  hair  v ork,  now  so  commonj 
will  assist  the  learner  in  many  points. 


304 


FEATHER  FLOWERS. 


FEATHER  FLOWERS. 

;OSE  who  are  so  fortunate  as  to 
have  in  their  possession  fine 
feathers  can  certainly  make  fine 
flowers.  Have  at  hand  gum  in 
solution,  French  paper  for  wind- 
ing stems,  and  wire  of  different 
sizes.  Draw  the  under  side  of 
the  feather  gently  over  the  edge 
of  your  penknife  to  bend  it  in 
the  required  direction ; make  a 
lump  of  bookbinder’s  thick  paste  or  wax  on  the  end  of  a wire  for 
a stalk,  and  begin  your  flower  by  sticking  the  smallest  sized  feathers 
into  it  for  a center ; place  other  feathers  of  the  same  kind,  but 
larger  in  size,  around  in  order.  Choose  green  feathers  for  leaves 
and  calyx,  and  pure  white  ones  for  japonicas  and  white  roses. 
Twist  the  ends  of  the  same  on  a wire,  and  make  fast  with  gum, 
glue,  paste,  or  other  similar  adhesive  substance.  Be  careful  to 
select  feathers  of  the  same  kind  for  the  same  flower.  Arrange  in  a 
vase,  and  cover  to  keep  free  from  dust.  In  this,  as  in  all  kinds  of 
fancy  work,  let  taste  and  neatness  govern  the  process. 

It  will  often  be  found  necessary  to  color  the  feathers  to  give  the 
desired  variety  of  hues  ; and  this  can  easily  be  done  by  attending  to 
the  following  directions  : Put  the  feathers  into  hot  water,  then  drain 
them  ; rinse  two  or  three  times  in  clear  cold  water  ; place  them  on 
a tray,  over  which  a cloth  has  been  spread,  before  a good  fire ; as 
they  dry,  draw  them  gently  into  shape  between  the  thumb  and  finger. 

To  dye  Feathers  blue.  — Into  about  three  cents’  worth  of  oil  of 
vitriol  mix  as  much  of  the  best  indigo  in  powder  ; let  it  stand  one 


FEATHER  FLOWERS. 


305 


or  two  days.  When  wanted  for  use,  shake  it  well,  and  into  a 
quart  of  boiling  water  put  one  table-spoonful  of  the  liquid.  Stir 
well,  put  the  feathers  in,  and  let  them  simmer  a few  minutes. 

Yellow,  — Put  a table- spoonful  of  the  best  turmeric  into  a quart 
of  boiling  water  ; when  well  mixed,  put  in  the  feathers.  More  or 
less  turmeric  gives  different  shades. 

For  orange,  add  a small  quantity  of  soda  to  the  preparation  for 
yellow. 

Pink.  — Three  good  pink  saucers  to  a quart  of  boiling  water, 
with  a small  quantity  of  cream  of  tartar.  If  a deep  color  is  re- 
quired, use  four  saucers.  Let  the  feathers  remain  in  this  dye  sev- 
eral hours. 

Red.  — Dissolve  a tea-spoonful  of  cream  of  tartar  in  a quart  of 
boiling  water ; put  in  one  tea-spoonfid  of  prepared  cochineal,  and 
then  a few  drops  of  muriate  of  tin.  This  dye  is  expensive ; there- 
fore use  the  plumage  of  the  bird  ibis. 

Lilac.  — About  two  tea-spoonfuls  of  cudbear  in  a quart  of 
boiling  water ; let  it  simmer  a few  minutes  before  you  put  in  the 
feathers.  A small  quantity  of  cream  of  tartar  turns  the  color  from 
lilac  to  amethyst. 

Bmiches  of  orange  blossoms  can  be  made  with  good  success  in 
feathers ; the  buds  are  to  be  made  of  starch  and  gum  mixed ; the 
stamens  of  ground  rice,  colored  with  turmeric,  into  Avhich  the 
gummed  ends  of  manilla  grass  have  been  dipped. 

The  “untutored  savages”  of  the  Pacific  Islands  make  beautiful 
feather  flowers,  rivaling  the  natural  ones  in  delicacy  and  beauty. 
Pinks,  orange  blossoms,  and  roses  of  exquisite  Avorkmanship  are 
often  brought  from  these  “heathen  lands”  which  Avould  put  to  the 
blush  our  most  accomplished  artists.  Old  ostrich  feathers  can  be 
made  to  look  as  well  as  new  by  holding  over  hot  steam,  then  draw- 
ing each  vane  of  the  feather  separately  over  a knife  to  curl  it. 


CONE  WORK. 


30() 


CONE  WORK. 

ILECT  good  clear  cones,  and  dis- 
sect some  Avhich  have  handsome, 
large  scales,  and  brush  them  clean ; 
lay  nice  white  putty,  or  a similar 
adhesive  substance,  smoothly  on 
your  frame  ; set  into  this  putty 
whole  cones,  large  and  small,  in 
such  figures  as  suit  your  taste, 
and  fill  up  the  entire  groundwork 
with  the  scales,  lapping  one  neatly 
over  the  other. 

Cut  oval  and  round  frames  for  light  pictures,  from  bookbinder’s 
pasteboard,  and  cover  with  the  scales  in  layers  or  rows.  Scallop 
the  edges  with  small  whole  cones,  set  in  large  cones  surrounded 
by  little  ones  equidistant,  if  the  frame  be  broad,  and  fill  in  with 
the  scales.  When  dry,  take  out  those  which  are  not  firm,  and 
replace.  Add  acorns  ad  libitum.  Varnish  the  whole  once  or  twice. 
If  you  wish  something  nice,  go  over  every  part  with  a fine  brush, 
and  leave  no  varnish  standing  in  drops. 

Cones  can  be  found  by  almost  any  one  in  an  hour’s  walk  through 
pine  woods.  Indeed,  if  one  has  a taste  for  the  beautiful,  and  is 
quick  in  perception,  it  is  impossible  to  ramble  through  woods  and 
fields  without  finding  many  curiosities  in  the  shape  of  mosses, 
grasses,  cones,  etc. 


SHELL  WORK. 


307 


SHELL  WORK. 

is  very  pretty  for  vases,  frames, 
boxes,  etc.  Many  shell  flowers, 
animals,  birds,  and  the  like,  are 
brought  here  from  the  Mediter- 
ranean. We  have  seen  some  that 
we  would  like  to  own ; but  in 
general  they  have  a stiff  appear- 
ance. However,  we  will  tell  you 
how  they  are  made. 

Assort  your  shells  according  to 
size  and  color  — the  more  rice  and  other  small  shells  you 
have,  the  better^  Melt  white  wax  and  glue  together,  two  parts 
of  the  former  and  one  of  the  latter.  Have  a clear  idea  of  what 
you  intend  to  do ; or,  what  is  better,  make  a pattern  before 
you  begin  to  set  your  shells.  If  you  will  ornament  a box,  a rose 
in  the  center  looks  well.  Take  thin  round  shells,  those  most 
resembling  rose  leaves,  of  the  smaller  size,  and  dipping  the  lower 
ends  in  the  hot  wax  mixture,  set  them  close  together  for  the 
center  of  a rose ; place  other  similar  shaped  shells  around  in 
circles,  the  largest  outward.  Care  must  be  taken  to  form  the 
shells  into  perfect  circles,  and  to  take  up  wax  enough  to  make 
them  adhere  to  the  cover.  Shells  of  different  form,  say  more 
oblong,  can  be  used  for  leaves.  After  arranging  such  figures  as 
you  like  with  the  shells  you  have,  fill  up  the  spaces  with  the  very 
small  ones.  Rice  shells  are  the  prettie.st,  but  they  are  costly.  Some 
prefer  sticking  the  shells  into  a puttied  surface,  which  does  very 
well.  Varnish  with  a very  little  copal  varnish,  %ismg  great  care. 


308 


SHELL  WORK. 


Animals  are  made  of  thick  pasteboard,  or  turned  in  wood,  and 
covered  with  one  kind  of  shell. 

Shell  Mowers.  — The  basis  of  each  large  flower  is  a piece  of 
thick  round  pasteboard.  The  shells  for  petals  are  sometimes 
tinged  with  water  color,  and  the  leaves  made  of  green  paper.  Del- 
icate sprays  are  made  by  threading  small  shells  on  fine  wire. 
Thus  made,  with  half  a dozen  huge  black  berries  of  wax  on  the 
top,  in  a vase  all  covered  with  shells,  it  will  pass  for  the  imported 
article. 

Ornaments  for  the  hair  are  made  from  rice  shells,  thus : File 
down  the  conical  end  of  the  shell,  and  clean  out  the  opposite  end 
with  a pin  ; pass  a silver  wire  (a  guitar  string)  through  the  filed 
end,  bring  it  down  and  twist  for  a stalk.  From  fifteen  to  twenty 
pairs  on  one  branch,  neatly  covered  with  white  or  green  silk  floss. 
Two  or  three  such  stalks  of  different  lengths  are  sufficient. 

Satin  beads  wired  with  a guitar  string,  and  wound  in  pairs  to 
form  sprigs,  with  now  and  then  a tendril,  are  beautiful  for  evening 
dress. 

In  almost  every  family,  enough  shells,  small  and  appropriate,  can 
be  found  to  make  some  ornamental  article.  Sea  captains  bring 
home  valuable  collections ; and  who  among  our  readers  has  not 
some  friends  or  acquaintances  who  “ go  down  to  the  sea  in 
ships  ” ? 


WILD  TAMARIND  SEED  WORK. 


309 


WILD  TAMARIND  SEED  WORK. 

E wild  tamarind  seeds  are  brought 
into  our  market  from  the  West 
Indies.  They  are  about  the  size 
and  color  of  apple  seeds,  but  hard 
as  stone.  We  tried  various  chem- 
ical solutions  to  soften  them,  but 
in  vain ; finally,  we  soaked  them 
in  air- slaked  lime  some  eight  or 
ten  hours,  then  wiped  them  with 
a rag  wet  in  sweet  oil.  After  this 
process  they  were  soft  enough  to  admit  of  being  pierced  by  a needle. 

Our  lady  friends  used  them,  with  gold  and  silver  beads,  for 
purses,  bags,  baskets,  bracelets,  ear-drops,  etc.  When  dried  they 
returned  to  their  pristine  hardness,  and  formed  durable  and  useful 
ornaments. 

Seeds  of  Cticumher  and  Musk  Melon  can  be  worked  with  steel  beads 
so  as  to  make  handsome  dress  bags  and  table  ornaments.  They 
should  be  lined  with  silk  appropriate  to  the  beads ; for  example,  a 
rich  green,  cherry  color,  or  black. 

A person  of  taste  can  make  many  very  pretty  things  by  arranging 
the  seeds  and  varying  the  beads.  Try  it  for  bags,  mats,  catchalls, 
baskets,  plates,  and  table  ornaments. 


310 


IMITATION  PEARL  WORK. 


IMITATION  PEAKL  WORK  FOR  EMBROIDERY. 

We  do  not  think  that  a preparation  of  fish  scales  has  ever 
been  used  in  this  country  instead  of  the  so  much  admired  pearl ; 
and  so  we  give  it  to  our  readers,  knowing  that  they  will  like  some- 
thing entirely  new. 

Take  the  shining  scales  from  a carp,  or  any  other  fish  — the  larger 
the  scales,  the  better  ; put  them  in  strong  salt  water  over  night ; 
lay  them  on  a linen  cloth  or  smooth  board ; wipe  them  carefully 
on  both  sides,  and  lay  them  between  clean,  strong  paper,  under  a 
board,  on  which  place  a weight ; let  them  remain  a day  or  two, 
until  the  scales  are  pressed  dry  and  become  hard.  Draw  some- 
thing, say  an  ivy  leaf,  on  strong  drawing  paper  ; cut  it  out,  and 
lay  it  on  each  scale  as  a pattern  by  which  to  cut  the  scales  with 
very  fine  scissors.  Such  a pattern,  however,  is  superfluous  to  per- 
sons acquainted  with  drawing,  who  can  cut  leaves  of  that  kind 
without  one.  Vein  your  scale  leaves  with  a fine  steel  needle ; do 
it  slowly,  bearing  on  hard  to  give  clearness : the  leaves  are  now 
ready. 

Stretch  a rich,  dark-colored  silk  velvet  tightly  in  an  embroidery 
frame ; place  the  pattern,  which  you  intend  to  copy,  before  you, 
and  imitate  it  by  sewing  the  scale  leaves,  one  at  a time,  on  the 
velvet,  with  fine  gold  thread,  and  the  leaf  stalks  and  tendrils  em- 
broidered with  the  same.  It  is  well  to  draw  the  thread  through 
water  before  using  it,  to  render  it  flexible. 

The  beautiful  effect  produced  by  this  simple  process  fully  repays 
one  for  the  trouble.  That  manifold  changes  may  be  made  accord- 
ing to  the  taste  and  ingenuity  of  the  copyist,  is  evident  to  the 
reader. 


PAPER  FLOWERS. 


311 


PAPER  FLOWERS. 


CCASIONALLY  we  see  very  hand- 
some paper  flowers  ; but  then  they 
are  made  by  persons  of  taste  with 
great  care,  and  from  the  best  of 
French  tissue  paper. 

Dip  a large  earners  hair  pencil 
in  thin  gum  arabic,  and  brush 
quickly  over  the  whole  surface  of 
the  paper  from  which  you  intend 
to  cut  your  flower ; this  Alls  the 
pores  of  the  paper,  and  gives  it  a little  stiffness. 

Cut  roses,  japonicas,  etc.,  from  paper  patterns  ; then  paint  with 
water  color.  Form  the  petal  with  your  fingers  and  a pair  of  scis- 
sors. Cut  a fringe  of  yellow  paper  for  stamens.  Make  your  leaves 
and  calyx  of  green  tissue  paper,  well  sized  with  gum.  Cover  fine 
well-annealed  wire  with  green  paper  for  stalks,  and  fasten  the  parts 
of  the  flower  together  with  gum. 

For  a daisy,  chrysanthemum,  or  aster,  double  the  paper  two  or 
three  times  ; cut  down  two  thirds  ; roll  the  uncut  side  firmly  round 
and  round  the  bent  end  of  a piece  of  wire  suitable  for  the  stalk. 

Buds,  pericarps,  etc.,  are  made  either  by  stuffing  with  a bit  of 
cotton,  or  winding  up  paper. 

Variegated  pinks  look  well.  Paint  strips  of  paper  in  splashes 
here  and  there,  as  you  see  on  the  petal  of  the  carnation  — some  very 
dark  carmine,  some  merely  light  touches.  Cut  off  suitable  width 
for  petals,  and  wind  around  a paper  center.  Take  natural  flowers 
for  models. 


TO  MAKE  TRANSPARENCIES. 


AKE  some  prettily  colored  landscape,  and  cut  a slit 
into  the  broad  lights  of  it  with  a penknife ; put  a white 
paper  of  medium  thickness  behind  it,  and  interline  with 
orange  or  rose-colored  paper  ; bind  the  three  — that  is, 
the  landscape,  the  colored  paper,  and  the  paper  which 
forms  the  back  — together  with  some  suitable  color  for 
a frame  ; now  separate  the  cut  edges  of  your  landscape 
by  pressing  them  apart.  Hang  up  in  the  window,  and  when  the 
sun  shines  through,  the  effect  is  beautiful.  Try  it ; we  are  sure 
you  will  be  pleased. 

An  engraving  prepared  as  for  Grecian  painting  is  very  pretty 
for  a screen,  or  to  hang  in  the  window.  Lamp  shades  may  be 
made  in  this  way,  and  many  pretty  designs  will  suggest  them- 
selves ; bouquets,  wreaths,  vines,  running  round  the  shade,  etc. 
Also  still  more  beautiful  is  the  antique  style,  before  painting. 


312 


LEAF  IMPRESSIONS. 


313 


DIRECTIONS  FOR  TAKING  LEAF  IMPRESSIONS. 


OLD  oiled  paper  in  the  smoke  of  a lamp,  or  of  pitch, 
until  it  becomes  coated  with  the  smoke  ; to  this  paper 
apply  the  leaf  of  which  you  wish  an  impression,  having 
previously  warmed  it  between  your  hands,  that  it  may 
be  pliable ; place  the  lower  surface  of  the  leaf  upon  the 
blackened  surface  of  the  oiled  paper,  that  the  numerous 
veins  that  are  so  prominent  on  this  side  may  receive 
from  the  paper  a portion  of  the  smoke  ; lay  a paper  over  the  leaf, 
and  then  press  it  gently  upon  the  smoked  paper,  with  the  fingers 
or  with  a small  roller,  (covered  with  woolen  cloth,  or  some  like 
soft  material,)  so  that  every  part  of  the  leaf  may  come  in  contact 
with  the  sooted  oil  paper.  A coating  of  the  smoke  will  adhere  to 
the  leaf.  Then  remove  the  leaf  carefully,  and  place  the  blackened 
surface  on  a piece  of  white  paper,  not  ruled,  or  in  a book  prepared 
for  the  purpose,  covering  the  leaf  with  a clean  slip  of  paper,  and 
pressing  upon  it  with  the  fingers  or  roller,  as  before.  Thus  may 
be  obtained  the  impression  of  a leaf,  showing  the  perfect  outlines, 
together  with  an  accurate  exhibition  of  the  veins  which  extend  in 
every  direction  through  it,  more  correctly  than  the  finest  drawing. 
And  this  process  is  so  simple,  and  the  materials  so  easily  obtained, 
that  any  person,  with  a little  practice  to  enable  him  to  apply  the 
right  quantity  of  smoke  to  the  oil  paper  and  give  the  leaf  a proper 
pressure,  can  prepare  beautiful  leaf  impressions,  such  as  a nat- 
uralist would  be  proud  to  possess. 

Specimens  thus  prepared  can  be  neatly  preserved  in  a book 
form,  interleaving  the  impressions  with  tissue  paper. 


314 


BOTANICAL  SPECIMENS. 


TO  DRY  BOTANICAL  SPECIMENS  FOR  PRESERVA- 
TION. 


about  to  be  submitted  to  the  process  of  drying,  place 
each  plant  between  several  sheets  of  blotting  paper, 
(2^)  and  iron  it  with  a large  smooth  heater  pretty  strongly 
warmed,  till  all  the  moisture  is  dissipated.  Colors  may 
thus  be  fixed  which  otherwise  become  pale  or  nearly  white. 

Some  plants  require  more  moderate  heat  than  others,  and  herein 
consists  the  nicety  of  the  experiment ; but  I have  generally  found, 
that  if  the  iron  be  not  too  hot,  and  is  passed  rapidly,  yet  care- 
fully, over  the  surface  of  the  blotting  paper,  it  answers  the  purpose 
equally  well  with  plants  of  almost  every  variety  of  hue  and  thick- 
ness. In  compound  flowers,  with  those  also  of  a stubborn  and 
solid  form,  some  little  care  and  skill  are  required  in  cutting  away 
the  under  part,  by  which  means  the  profile  and  forms  of  the  flow- 
ers will  be  more  distinctly  exhibited.  This  is  especially  neces- 
sary when  the  method  employed  by  Major  Velley  is  adopted,  viz., 
to  fix  the  flowers  and  fruit  down  securely  with  gum  upon  the 
paper,  previous  to  ironing,  by  which  means  they  become  almost 
incorporated  with  the  surface.  When  this  very  delicate  process  is 
attempted,  blotting  paper  should  be  laid  under  every  part  except- 
ing the  blossoms,  in  order  to  prevent  staining  the  white  paper. 
Great  care  must  be  taken  to  keep  preserved  specimens  m a dry 
place,  and  also  to  handle  them  gently ; and  thus  they  can  be  kept 
a long  time,  affording  a source  of  great  pleasure. 


HE  plants  you  wish  to  preserve  should  be  gathered  when 
the  weather  is  dry  ; and  after  placing  the  ends  in  water, 
let  them  remain  m a cool  place  till  the  next  day.  When 


REPOUSsi  WORK,  OR  EMBOSSING  SHEET 
BRASS. 

R^ipousse  means  “ pushed  out,”  and  is  the  name  applied 
to  a kind  of  work  larg;ely  practised  at  present  by  those  who 
are  fond  of  artistic  and  beautiful  things,  and  feel  it  in  their 
power  to  make  with  their  own  hands  these  much  desired 
objects.  The  work  consists  in  hammering  down  portions 
of  the  sheet  of  metal,  whicli  causes  other  portions  of  the 
sheet  to  rise  in  relief.  Lay  your  sheet  of  brass  on  a smooth 
board;  a design  is  then  drawn  upon  the  brass;  these  lines 
are  then  stamped  or  dented  in  with  a liammer  and  the  point 
of  an  outlining  instrument.  With  the  hammer  and  the  point 
of  another  instrument  you  then  indent  the  background.  As 
you  push  or  dent  the  background  in  you  will  find  your  design 
rising  in  relief.  When  this  is  done,  polish  your  brass  and 
your  work  is  finished.  This  is  a rough  sketch  of  the  work, 
of  course,  but  will  give  the  reader  a general  idea  as  to  what 
it  consists  in.  Now  let  us  give  a systematic  lesson  in  this 
work.  The  materials  are : — 


315 


316 


repousse  work. 


A smooth,  soft  pine  board  or  thick  sheet  of  lead. 

A chaser’s  hammer  (to  be  had  at  a hardware  store)  or  a 
mallet  which  comes  for  the  purpose.  An  ordinary  tack- 
hammer  may  be  used,  but  the  end  being  small,  you  are 
sometimes  apt  to  miss  in  striking  at  the  head  of  your 
punch,  in  which  case  you  hammer  your  fingers  instead. 

A tracer  or  bordering-tool. 

A background  punch. 

A prick-punch  for  making  holes  in  the  corners  of  your 
sheet  of  brass  by  which  to  screw  it  down  to  your  board. 

Four  small  screws  to  screw  your  sheet  of  brass  down  with. 

A screw-driver. 

We  have  here  given  tlie  simplest  list  of  articles  necessary. 

Boxes  of  tools  come  already  put  up  for  this  w'ork.* 

Sheet  brass  comes  of  various  thicknesses,  varying  from 
sheets  as  pliable  and  thin  almost  as  letter-paper,  to  brass  so 
thick  that  it  requires  a tin-man  with  projDer  tools  to  bend  it. 

Mallets  come  made  of  steel,  iron,  or  wood.  A wooden 
mallet  is  heavy  enough  for  ordinary  work  on  thin  brass;  a 
metal  one  is  necessary  for  sheet  brass.  No.  25. 

* The  publishers  of  this  hook  supply  such  boxes,  at  a low  cost,  con- 
taining all  articles  desired. 


R^POUSS^  WORK. 


317 


Punches  look  like  large  nails  without  heads.  The  point 
with  which  you  indent  the  brass  is  flattened  not  sharp,  and 
is  roughened  or  has  lines  across  it  dividing  it  into  squares 
like  a seal.  These  points  are  finished  in  various  ways,  some 
have  crescents  on  them,  some  circles,  some  diamonds,  etc., 
in  endless  variety,  and  whatever  is  on  them  they  will  stamp 
upon  the  background.  After  you  have  worked  enough  to 
know  what  you  want,  you  will  probably  invent  new  pat- 
terns which  can  be  made  for  you  by  any  one  accustomed  to 
working  in  metal.  At  any  rate  you  will  soon  find  yourself 
adding  to  your  punches,  buying  new  ones  with  diftering 
ends. 

It  is  the  best  plan  to  begin  by  taking  a sheet  of  the  very 
thin  brass,  making  holes  in  the  corners  and  screwing  it 
down  on  one  corner  of  your  board.  Then  take  your  pencil, 
draw  some  simple  figures  upon  it,  a square,  then  a diamond, 
then  a circle,  if  you  do  this  in  pencil  and  find  it  hard  to  see 
go  over  your  outline  with  a pen  and  ink.  Then  take  your 
tracer,  borderer,  or  outliner,  whichever  you  prefer  to  call  it, 
in  your  left  hand,  your  hammer  in  your  right,  and  go  over 
your  outline  by  placing  the  point  of  your  instrument  on  the 
brass  and  giving  it  blows  upon  tlm  other  end  with  the  ham- 
mer. The  best  outliner  is  a short  one,  that  is,  one  which  has 


318 


r6pouss6  work. 


a small  point  and  makes  a short  line,  for  it  is  easier  to  go 
round  a curve  with  it.  Hammer  lightly  and  make  a faint 
outline,  do  not  dent  in  deep  or  you  will  make  the  edges  of 
your  brass  curl  up.  You  will  have  to  go  over  this  outline 
again  by  and  by,  for  it  will  become  fainter.  Now  this  out- 
line must  be  very  carefully  done,  and  to  this  you  must  pay 
strict  attention.  Your  outlining  punch  will  make  a line  like 

this if  a plain  one,  or  like  this if  it  is  a serrated  or 

toothed  one  (the  latter  is  the  usual  one).  Now  this  outline 
must  be  continuous,  that  is,  it  must  have  no  breaks  in  it  and 

must  look  like  this  when  done , 

and  not  like  this which  is 

thoroughly  bad  and  careless.  The  reason  of  the  broken 
line  is  that  the  outliner  has  been  moved  along  too  quickly. 
It  has  been  placed  on  the  brass,  a blow  of  the  hammer  has 
been  given,  it  has  been  moved  along  and  no  care  has  been 
taken  in  looking  to  see  that  the  outliner  is  placed  so  as  to 
touch  the  last  dot  of  the  previous  series  of  dots ; or  the  end 

of  the  previous  line  thus  , 

not  thus . Therefore  it  is  recom- 

mended that  you  should  practise  for  a while  on  the  thin 
sheet  of  brass  flistened  on  the  corner  of  your  board.  After 
making  half  a dozen  lines  you  will  understand  what  is 


R^:POUSS^:  WORK. 


319 


meant  by  this  description.  You  will  soon  be  able  to  calcu- 
late with  only  a glance  where  to  place  your  outline  so  as  to 
make  a continuous  line;  but  at  first  you  must  look  con- 
scientiously until  3"ou  are  sure  about  what  you  are  doing. 

When  a good  straight  line  can  be  made,  you  may  proceed 
to  make  a curved  one,  outlining  a circle  drawn  upon  your 
piece  of  brass.  When  you  have  outlined  several  squares, 
circles,  diamonds,  etc.,  you  may  proceed  to  outline  a star. 
Tlien  you  may  make  a crescent,  then  a heart,  after  which 
you  may  make  a clover  pattern;  if  you  have  no  guide  for 
this,  copy  the  figure  on  the  ace  of  clubs  in  playing  cards. 
Then  make  two  parallel  lines,  first  about  this  distance  apart 
, then  nearer  together 

then  still  nearer  ■ ■ =.  When  you  have  prac- 

tised all  these  lines  you  may  go  over  all  the  background 
that  is  left  with  your  background  punch.  This  will  cover 
your  background  with  dents  or  patterns  according  to  the 
design  on  the  end  of  your  punch.  Do  not  punch  all  in  one 
spot  at  first,  but  go  over  the  whole  surface,  punching  here 
and  there;  then  go  over  it  again  punching  more  closely 
until  you  cover  it  thickly  with  impressions  of  your  punch. 
After  the  first  time  you  may  strike  harder  with  your  ham- 
mer, only  be  careful  not  to  cut  or  break  through  your  metal. 


320 


REPOUSSE:  WORK. 


You  will  soon  become  accustomed  to  your  instruments  and 
will  find  out  how  you  can  best  work  them  into  the  irregu- 
lar spaces  about  the  edge  of  your  design  by  slanting  them 
and  bearing  on  one  edge  only,  etc.  Work  up  to  the  edge  of 
your  design  as  close  as  you  can,  the  closer  and  deeper  you 
indent  the  more  your  design  will  stand  out  or  rise  in  relief 
After  you  liave  practised  on  this  tliin  brass  you  may  work 
on  a thicker  sheet.  No.  25  is  the  thickness  usually  chosen, 
it  being  pliable  enough  to  work  easily  and  yet  stiff  enough 
to  make  substantial  plates,  ash-trays,  picture  frames,  etc. 

One  of  the  simplest  things  to  make  is  a ‘^finger-plate” 
for  a door,  that  is,  a piece  of  brass  about  seven  or  eight 
inches  long  and  three  inches  broad,  to  go  above  the  handle 
of  a door  where  it  often  becomes  defaced  by  handling. 
After  this  is  made  any  tin-man  will  mount  it  for  you  in  a 
narrow  brass  frame  in  which  holes  must  be  made  for  the 
screws  that  screw  it  to  the  door.  Another  easy  thing  to 
make  is  a sconce  for  a candle.  Take  a piece  of  No.  25 
brass,  have  it  cut  into  a strip  four  inches  by  twelve,  turn 
up  three  inches  at  one  end  at  right  angles  with  the  rest, 
punch  a round  hole  in  the  straight  end  near  the  top  to  hang 
it  up  by;  then  draw  your  design  on  the  face  of  the  portion 
hanging  on  the  wall.  When  it  is  hammered  take  it  to  a 


KEPOUSS^:  WORK. 


321 


tin-man  and  get  him  to  solder  a socket  on  to  the  tiirned-np 
end  to  hold  a candle. 

To  make  a plaque,  get  a square  sheet  of  brass  sixteen 
inches  by  sixteen;  get  a circle  described  on  it  with  a stiff 
pair  of  carpenter’s  compasses,  exactly  sixteen  inches  in 
diameter.  And  then  within  this  another  circle  of  fifteen 
inches  in  diameter;  if  you  have  no  compasses  or  cannot  get 
this  done  you  may  lay  a plate,  which  you  feel  sure  is  even 
and  true,  upon  your  brass,  then  place  a smaller  plate  within 
this  circle  and  make  a smaller  one,  always  at  least  an  inch 
of  space  between  the  two  circles.  This  space  must  never 
be  hammered.  It  is  to  be  turned  up  later  to  make  a rim  to 
your  plaque.  Put  your  screws  in  the  corners  outside  of  the 
outer  circle.  When  your  piece  of  brass  is  screwed  down, 
proceed  to  make  your  design  and  hammer  your  plaque. 
After  it  is  done  take  it  to  a tin-man  and  he  will  turn  up  the 
rim  for  you.  Ash-trays  may  be  made  in  the  same  way  or 
square;  if  square,  mark  off  two  squares,  one  within  the 
other,  for  a rim  — never  forget  to  do  this  with  every  article 
tlmt  is  to  have  a rim.  In  making  a picture-frame  allow 
enough  to  turn  in  around  the  square  opening  for  the  picture, 
that  is,  draw  a square  the  size  of  the  opening  you  wish  to 
have  for  the  picture  and  a square  within  that  which  you 


322 


kepoussjS  wokk. 


wish  the  tin-man  to  cut  out;  the  space  between  will  be 
turned  under  like  the  hem  in  sewing,  and  will  give  a pret- 
tier finish.  The  same  should  be  done  witli  the  outer  edg^e 
for  it  will  be  needed  when  you  take  it  to  a frame-maker  to 
have  a back  put  on.  Whatever  article  you  make,  which  you 
do  not  complete  yourself,  should  have  a little  margin,  as  it 
will  be  required  in  the  final  making  up  of  the  article  in  all 
probability.  We  have  not  space  here  to  enumerate  all  the 
various  things  which  may  be  made  in  brass,  the  bodies  of 
lamps,  fender-rails,  mirror  and  picture  frames,  mirror  backs, 
panels  to  hang  on  the  wall  or  set  in  cabinets,  pieces  to  set  in 
fire-screens,  tiles,  etc.  We  have  given  some  of  the  simplest 
things,  the  reader  can  go  on  elaborating  indefinitely  and 
will  probably  discover  a hundred  useful  and  pretty  things 
which  may  be  made  in  this  way.  Remember  that  the  best 
work  is  not  the  most  elaborate,  but  that  the  simplest, 
strongest  designs  are  the  most  artistic.  Do  not  cut  up  the 
surface  too  much,  but  leave  some  broad  spaces  of  plain 
brass  in  high  relief  to  reflect  the  light.  When  your  work 
is  done,  you  may  polish  it  with  rotten-stone,  raw  linseed 
oil,  and  turpentine,  on  a chamois  skin.  Rub  the  rotten- 
stone  into  the  background  and  it  will  look  like  antique 


R^POUSS^;  WORK. 


323 


brass.  If  you  wish  it  to  look  like  new  brass  rub  the  rotten- 
stone  out  with  a stiff  brush. 

Deep  Chasing.  — This  must  be  done  with  thicker  brass. 
In  this  style  of  work  you  hammer  on  the  back  as  well  as  the 
front,  pushing  out  your  design  into  high  relief.  For  this 
you  will  find  it  necessary  to  have  a bed  of  pitch  or  compo- 
sition. This  is  to  make  a yielding  but  tough  substance 
under  your  brass,  which  will  yield  gradually,  but  is  still 
capable  of  yielding  to  almost  any  extent  under  the  pressure 
of  your  brass  as  you  hammer  it  in.  To  make  this  bed  take 
brick-dust,  plaster  of  Paris,  fine  sand  or  ashes,  and  mix  any 
one  of  them  with  pitch  or  resin,  and  a very  small  quantity  of 
tallow  or  turpentine.  Lay  your  brass  in  a bed  of  this,  and 
you  will  find  it  can  be  hammered  in  very  easily.  When 
you  wish  to  hammer  out  from  the  inside,  turn  your  article 
over  and  lay  it  face  downward  on  the  pitch  and  then  ham- 
mer in  those  parts  which  you  wish  to  protrude  on  the  front 
side;  you  can  raise  portions  an  inch  or  two  inches  in  this 
way.  If  you  have  an  article  wliich  will  hold  it,  melt  some 
pitch  and  pour  into  it,  when  it  is  hardened  somewhat,  pro- 
ceed as  before.  To  get  it  out  you  must  heat  your  brass 
article  until  the  pitch  can  be  poured  out  again. 

We  have,  in  this  chapter,  given  the  mere  rudiments  of 


324 


k^pousse  work. 


the  art  of  hammering  brass,  but  the  publishers  of  this  work 
are  now  preparing  a separate  book  which  will  deal  solely 
with  working  in  brass  and  other  metals,  and  will  give 
directions  on  the  subject  of  the  most  minute  and  complete 
description,  The  publishers  also  supply  original  designs  for 
plaques,  trays,  frames,  etc. 

Note.  — Since  the  above  was  written  new  methods  have  been  discov- 
ered, which  are  given  in  detail,  and  with  illustrations,  in  a separate 
book  now  in  preparation,  by  the  publishers,  S.  W.  Tilton  & Co., 
Boston. 


HOW  TO  MAKE  PHOTOGRAPHS. 


Amateur  Photography  has  for  years  been  held  in 
high  estimation  throughout  Great  Britain,  as  a means 
of  recreation,  by  persons  of  rank,  title,  men  eminent  in 
the  legal  profession,  in  liteiature,  and  in  science.  Al- 
though but  recently  introduced  in  this  country  in  a 
popular  form,  so  that  outfits  are  sold  at  prices  ranging 
down  to  $10.00,  it  is  destined  to  maintain  a high 
place  among  art  studies  and  amusements.  Recent  im- 
provements in  photography  have  made  possible  the 

oZo 


326 


AMATEUR  PHOTOGRAPHY. 


production  of  the  highest-class  pictures,  through  the 
medium  of  an  equipment,  which  any  one  should  be 
able  to  manipulate,  and  yet  so  light  in  weight  as  not 
to  be  burdensome.  The  apparatus  is  graceful  in  ap- 
pearance, and  many  of  the  fair  sex  have  become  expert 
in  its  use. 


Recreation  that  carries  with  it  stimulating  exercise 
is  what  is  needed  in  tliis  country,  and  Herbert  Spencer’s 
mild  rebuke  should  not  be  passed  unheeded  by  thought- 
ful men.  Amateur  photography  may  venture  a claim 
for  consideration,  as  the  practice  of  it  is  educating, 


AMATEUR  PHOTOGRAPHY. 


327 


refining  and  health-giving.  It  is  a certain  cure  for 
mental  weariness,  and  no  one  who  has  an  artistic 
appreciation  of  the  beautiful  can  fail  to  be  interested  in 
tlie  art. 

The  development  of  amateur  photography  has  been 
marked  and  rapid  during  the  two  years  that  have 
followed  the  bold  move  of  the  Scovill  Manufacturing 
Company,  of  New  York,  which  brought  it  into  imme- 
diate popularity;  and  the  innumerable  useful  purposes 
that  it  can  be  made  to  serve  have  been  demonstrated. 
Wide-awake  correspondents  and  authors  now  enclose 
with  their  manuscript,  and  send  to  the  publishers, 
photographic  prints,  or  negatives,  from  which  engrav- 
ings are  made  for  the  illustration  of  their  articles  or 
stories.  The  artist,  with  a camera  looking  like  a hand- 
satchel,  photographs,  without  exciting  the  suspicion  of 
the  unconscious  subject,  the  beautiful,  quaint,  or  repul- 
sive features,  wliich  in  due  time  will  be  copied  on 
canvas.  Similarly  equipped,  the  detective  is  more  than 
ever  to  be  feared  by  the  criminal.  Architects,  manu- 
facturers, real-estate  or  insurance  agents,  and  men  en- 
gaged in  other  branches  of  business,  for  a variety  of 
purposes,  compel  the  camera  to  serve  them  well. 


328 


AMATEUR  PHOTOGRAPHY. 


Pictures  of  places  of  historic  interest,  and  of  the  gems 
of  scenery  to  be  found  in  our  own  or  in  foreign  lands, 
make  an  adornment  for  the  home,  prized  for  the  rem- 
iniscences which  are  associated  with  each  one.  These 
pictures  can'  be  handsomely  framed,  or  gathered  in  port- 
folios and  albums.  From  the  same  negatives,  trans- 
parencies, or  magic-lantern  slides,  may  also  be  made. 
As  the  latter  are  prepared  Avith  so  little  trouble,  a 
form  of  parlor  entertainment  has  been  introduced, 
which  consists  of  the  employment  of  a magic-lan- 
tern, or  stereopticon,  and  the  exhibition  to  a circle 
of  friends  o£  the  pictures  taken,  developed  and  finished 
by  the  amateur  himself  The  requirements  for  securing 
stereoscopic  pictures  or  photographs  of  microscopic  ob- 
jects are  simple  and  quite  inexpensive.  For  instan- 
taneous photography,  one  needs  but  to  substitute  a 
quick-working  lens,  with  a drop  or  shutter,  for  the 
one  in  ordinary  use,  also  to  provide  himself  with  extra 
sensitive  plates,  and  the  impressions  of  rapidly  moving 
objects  are  fixed  on  the  sensitive  film  of  the  plates,  as 
though  the  fleeting  panorama  had  been  instantly  held 
in  check.  There  arc  easy  methods  for  copying  manu- 
script, engravings,  and  for  enlarging  small  pictures. 


AMATEUR  PHOTOGRAPHY. 


329 


This  sketch  of  the  scope  of  amateur  photography  is 
but  in  outline.  The  lessons  that  follow  are  more  de- 
tailed and  complete. 


PICTURE-MAKING. 

Picture-Making  is  quite  simple,  and  the  details  are 
therefore  briefly  given.  Any  person  of  average  intelli- 
gence may  feel  certain  that  he  can  succeed  in  making 
good  photographs  if  he  purchases  an  equipment  made 
by  reliable  manufacturers. 

Filling  the  Plate-Holder.  — If  this  is  done  in 
the  daytime,  a closet  or  room 
is  selected,  and  all  white  light 
excluded  from  it.  It  is  a difli- 
cult  task  to  make  this  exclu- 
sion absolute;  one  ray  of  white 
light  will  spoil  a sensitive  plate, 
and  therefore  the  evening  is 
generally  chosen  to  develop 
negatives,  and  for  illumination 
a light  from  a ruby  lantern  is  employed.  Open  a 


330 


AMATEUR  PHOTOGRAPHY. 


Plate  in  Hand. 


package  of  gelatine  plates  (these  plates  are  glass  with 
a coating  of  gelatine  on  one  side)  y 

and  place  one  of  them  in  a dry 
plate-holder,  with  the  sensitive 
(not  the  glossy)  side  facing  out- 
ward. Handle  the  plates  thus, 

After  putting  into  holders  as 
many  sensitive  plates  as  are 
needed  for  a day’s  sport,  pack  the  outfit  so  that  it 
can  be  carried  as  shown  in  the  illus- 
tration. 

Taking  the  Picture.  ~ For  field 
service,  a camera,  a number  of  plate- 
holders  filled  with  sensitive  plates,  a 
lens,  tripod,  carrying  case,  and  focus- 
sing cloth  are  needed.  When  these 
have  been  taken  to  a place  where  the 

views  look  inviting,  fasten  the  camera'^h'^ 

‘ 'yV'‘ 

on  the  tripod.  Throw  the  focussing 

Amateur  with  Kit 

cloth  over  your  head,  gather  it  under  Packed. 


your  chin,  draw  out  the  back  of  the  camera  thus  ex- 
tending the  bellows,  and  continue  the  movement  until 
the  image  on  the  ground  glass  appears  most  distinct. 


AMATEUR  PHOTOGRAPHY. 


331 


Then  fasten  the  back  of  the  camera.  This  is  called 
“focussing.”  At  first  glance  an  inexperienced  person 


sees  no  reflection  on  the 
ground  glass,  but  the  eye 
soon  becomes  practised  to 
perceiving  the  inverted 
image  there.  Substitute  a 
plate-holder  for  the  ground 
glass,  see  that  the  cap  is 
on  the  lens,  pull  the  slide 
out  of  the  holder,  and 
place  it  on  the  top  of  the 
camera,  or  in  a convenient 
place.  If  everything  is  now 
in  readiness,  and  the  time  for 


exposing  the  sensitive  plate  determined,  uncap  the  lens, 
recapping  it  at  the  end  of  the  allotted  time,  and  re- 
placing the  slide  in  the  holder.  Make  an  entry  in 
your  note-book  of  a similar  import  to  this:  — 


No.  of 
Holder. 

No.  of 
Plate. 

! 

Lens. 

Stop. 

Exposure 

in 

Seconds. 

Time  of 
Day. 

T’kmakks. 
Condition  of  Light, 
Subject,  etc. 

1 

1 

6-inch. 

1.5 

10  A.M. 

Ocean  VicAv. 
Bright  Sunlight. 

332 


AMATEUR  PHOTOGRAPHY. 


After  yon  have  picture  impressions  on  each  sensitive 
film  rearrange  your  outfit  in  compact  shape  and  return 
home.  The  cuts  on  the  following  page  show  the  differ- 
ent styles  of  cameras. 

Making  Negatives.  — Amateurs  may  content  them- 
selves with  making  the  exposures,  and  send  their  plates 
in  a light  tight  negative  box 
to  some  photographer,  who,  for 
a small  price,  will  produce 
the  finished  pictures  and  mount 
them  on  cardboard  or  in 
albums.  It  is  not  essential, 
when  one  attends  to  these 
details  himself,  that  they  should  Negative  Box. 

be  done  at  once.  Months  may  elapse,  and  the  dry  plates 
be  carried  hundreds  of  miles  without  deterioration. 
The  chemical  outfit  for  making  negatives  comprises 
the  following  items : Two  vulcanite  trays,  a glass 

graduate,  a set  of  small  scales  and  weights  for  weigh- 
ing chemicals,  a ruby  lantern,  a bottle  of  negative 
varnish,  a package  of  dry  plates.  And  of  chemicals : 
A small  quantity  of  bromide  of  ammonium,  neutral 
oxalate  of  potash,  protosulphate  of  iron,  hyposulphite  of 


AMATEUR  PHOTOGRAPHY. 


333 


soda,  alum,  and  sulphuric  acid.  These  chemicals  are 
not  dangerous,  nor  will  they  injure  one  who  handles 

them,  and  they  do  not  emit 
offensive  odors.  Silver  stains 
and  the  disagreeable  smell  of 
collodion,  belong  to  the  old,  or 
so-called  “wet”  process.  When 
a convenient  time  is  found, 
take  the  plate-holders  into  the 
darkened  room,  illuminate  it 
with  ruby  light,  take  the  sensitive  plates  out  of  the 
holders,  being  careful  not  to  touch  their  surface.  Hold 

fthem  by  their  edges.  Place  one  of  the 
sensitive  plates,  film  side  up,  in  a tray 
partly  filled  with  water.  While  it  remains 
there,  mix  this  solution:  Water  twenty 

ounces,  live  ounces  neutral  oxalate  of 
_^potasli,  and  twenty  gi'ains  of  bromide  of 
Glass  Graduate,  potassium.  If  the  solution  does  not  turn 
blue  litmus  paper  red,  add  a few  drops  of  oxalic  acid, 
enough  to  make  it  do  so.  A graduated  glass  is  used  to 
measure  out  the  liquids.  After  rinsing  the  glass  out, 
mix  a second  solution  made  up  of  water  twenty  ounces. 


Plate  Sliding  out  of  Holder. 


334 


AMATEUR  PHOTOGRAPHY. 


five  ounces  protosulphate  of  iron,  with  twenty  drops  of 
sulphuric  acid  added.  Both  of  these  solutions  keep 
well.  Now  combine  a quarter  of  an  ounce  of  the 
latter  solution  with  two  ounces  of  the  former,  and 
mix  them  well.  Pour  off  the  water  in  the  tray,  con- 
taining the  gelatine  plates.  Be  certain  not  to  touch 
the  sensitive  side  of  the  plate.  Flow  the  combined 
developing  solution  over  the  plate,  and  displace,  by  a 
touch  of  your  finger,  any  air  bubbles  that  may  form. 
After  a short  time  traces  of  the  image  on  the  senti- 
tive  film  will  appear.  If  they  do  not  appear,  pour  the 
developing  solution  back  into  the  tray,  and  add  a quarter 
of  an  ounce  more  of  the  iron  solution.  Pour  the 
strengthened  solution  over  the  plate,  and  look  at  it 
intently.  In  a short  time  the  details  of 
the  picture  may  be  dimly  seen.  Wait 
patiently  until  the  milky  white  appear- 
ance is  changed  to  a gray  color,  and 
then  pour  off  the  developer  into  a de- 
veloping bottle,  if  you  have  one.  Wash 
the  plate  in  two  changes  of  water.  In 
the  unused  tray,  mix  a solution  composed  of  water 
twenty  ounces,  and  four  ounces  hyposulphite  of  soda. 


AMATEUR  PHOTOGRAPHY. 


335 


Plate-Lifter. 


(Label  this  tray  “Hypo.,”  and  do  not  use  it  for  any 
other  purpose).  [A  plate-lifter  is  a very 
convenient  device  for  taking  plates  out 
of  the  solutions  or  baths.]  Change  the 
plate  to  the  hypo  tray  and  let  it  re- 
main there  until  every  vestige  of  the 
milky  white  appearance  has  vanished, 
even  from  the  under  surface  of  the 
plate.  The  plate  can  be  examined  by  white  light,  which 

has  no  effect  on  it 
now.  Wash  thor- 
ouglily.  A nega- 
tive washing-box 
will  be  found  to  be 
of  great  assistance. 
If  this  washing  of 
the  plate  is  not 
done  thorouglily, 
the  hyposuliDhite  of 
soda  ciystals  will 
adhere  to  the 

Negative  Washing-box. 

picture.  Meanwhile  rinse  out  the  tray  first  in  use,  and 


336 


AMATEUR  PHOTOGRAPHY. 


partially  fill  it  with  a solution,  consisting  of  twenty 
ounces  of  WJiter  and 
all  the  alum  it  will 
hold  in  solution. 

Allow  the  plate  to 
remain  in  the  alum- 
bath  five  minutes. 

Cleanse  your  hands 
from  any  adhering  Negative  Rack, 

soda  solution.  Again  wash  the  plate,  and  set  it  on  edge 
to  dry  in  a negative  rack. 

All  of  the  instructions  that  precede  can  be  briefly 
summarized : — 

1st.  Put  some  sensitive  plates  into  dry  plate-holders. 

2d.  Make  the  exjiosures. 

3d.  After  taking  a plate  out  of  the  holder,  place  it 
in  a tray  filled  with  water. 

4th.  Drain  off  the  water  and  put  the  plate  in  the 
mixed  develojung  solution. 

5th.  Wash  the  plate  and  place  it  in  the  soda  solu- 
tion. 

6th.  Wash  the  plate  and  give  it  an  alum  bath. 

7th.  Wash  the  plate,  and  set  it  in  the  rack  to  dry. 


AMATEUR  PHOTOGRAPHY. 


337 


When  perfectly  dry,  coat  the  plate  over  with  n»pi- 
tive  varnish,  and  have  that  coating  dry  and  harden. 
After  this  the  surface  of  the  plate  may  be  touched  by 
the  fingers. 

Making  Prints  from  Negatives.  — At  this  point 
the  work  ceases  to  be  one  of  faith,  as  the  results  are 
now  to  appear.  An  outfit  of  printing  requisites  com- 


Printing-Frame. 


prises  a printing-frame,  a porcelain  pan,  a vulcanite 
tray,  some  ready  sensitized  paper,  a bottle  of  French 
azotate,  a bottle  of  chloride  of  gold,  a glass  graduate, 
some  hyposulphite  of  soda,  a glass  form,  a Robinson 
Trimmer,  some  sheets  of  fine  cardboard,  a jar  of  parlor 
paste,  and  a bristle  brush. 

Blue  Prints.  — If  you  wish  to  make  a blue  picture 
on  a white  ground,  commonly  Oalled  a “blue  print,” 


338 


AMATEUK  PHOTOGRAPHY. 


procure  a package  of  ferro-prussiate  paper.  Place  the 
negative,  film  side  up,  in  a printing- frame.  Upon  the 
negative  lay  a piece  of  ferro-prussiate  paper  (this  should 
be  handled  in  a dim  light)  with  the  colored  side  down. 
Close  the  back  of  the  printing-frame  and  fasten  it  by 
setting  the  springs.  Carry  the  printing-frame  to  some 
place  where  the  sunlight  will  fall  upon  it,  and  from 
time  to  time  examine  the  print.  As  soon  as  the  picture 
is  clearly  seen,  take  out  the  print  and  throw  it  into  a 
pan  containing  clear  water.  After  about  twenty  minutes 
remove  the  print  and  dry  it  in  the  sunlight.  The  re- 
sult is  a permanent  blue  and  white  picture,  which  will 
at  least  answer  for  a proof,  and  show  the  merit  of 
your  negative. 

Sensitized  Paper  Prints.  — In  the  morning  prepare 
a toning-bath  sufficient  for  the  prints  to  be  toned  that 
day.  Put  seven  and  one-half  grains  of  chloride  of  gold 
in  seven  and  one-half  ounces  of  water.  Label  the 
bottle,  “ Chloride  of  Gold  Solution.”  Take  of  water 
six  ounces,  French  azotate  one  ounce,  lastly  add  one 
and  one-half  ounces  of  the  “ chloride  of  gold  solution,” 
and  you  have  a toning-bath  which  keeps  well.  Where 
the  prints  do  not  give  the  required  tone,  the  bath  must 


AMATEUR  PHOTOGRAPHY. 


339 


be  strengthened  by  adding  to  it  some  new  solution. 
Place  the  glossy  side  of  a sheet  of  sensitized  paper 
upon  the  film  side  of  the  negative  in  the  printing- 
frame.  Do  this  in  a very  dim  light.  The  printing  has 
gone  far  enough  when  the  print  looks  a little  darker 
than  you  wish  the.  finished  picture  to  appear.  Make  as 
many  prints  from  the  negative  as  you  desire.  Wash 
the  prints  in  several  changes  of  water.  Take  a lialf- 
ounce  of  the  toning  solution  and  change  the  prints  to 
the  pan  containing  it,  whore  the  prints  should  be  turned 
over  and  over  to  make  the  toning;  even.  The  tonino* 
process  should  go  on  until  the  dark  part  of  the  pictures 
have  a very  fiiint  purplish  tint,  and  the  white  portion 
is  clear.  Wash  the  pictures,  but  preserve  the  toning 
solution.  The  pictures  should  now  be  left  for  twenty 
minutes  in  a solution  composed  of  four  ounces  of  hy- 
posulphite of  soda,  one  ounce  of  common  salt,  and  one- 
half  ounce  of  washing-soda,  and  thirty-two  ounces  of 
water.  This  solution  should  also  be  prepared  a day  or 
two  in  advance.  Give  the  pictures  a final  and  effect- 
ual washing.  After  they  are  dried,  lay  them  out  one 
by  one,  nnd,  using  the  Robinson  Trimmer,  cut  them  to 
the  desired  size.  Now  spread  over  the  back  of  each. 


340 


AMATEUR  PHOTOGRAPHY. 


in  torn,  some  parlor  paste,  and  lay  them  down,  with  the 
centre  on  the  sheets  of  cardboard.  This  operation  is  called 
“ mounting  jnctures.’ 

Press  with  a paper- 
cutter  upon  the  pict- 
ures and  toward  their 
edges  until  you  are 
satisfied  that  they  will 
lay  flat.  Further  more 
explicit  and  complete 

Robinson  Trimmer. 

instructions  in  the 

making  of  photographs,  how  they  can  be  preserved  in 
neat  shape,  instructions  for  making  stereoscopic  and  in- 
stantaneous pictures,  transparencdes,  magic-lantern  slides, 
and  photographs  of  microscopic  objects,  are  to  be  found 
in  a book  which  can  be  obtained  for  fifty  cents  per  copy, 
published  by  the  Scovill  INIanufacturing  Company  of  New 
York,  entitled  “ How  to  Make  Pictures.” 


ORIENTAL  PAINTING. 


design  imderneatli,  usually  flowers,  birds,  and  frequently, 
when  wanted  for  a table  stand,  forms  for  chess  playing 
are  used,  gilt,  etc.  Then  take  a fine  badger,  or  camel’s 
hair  pencil,  and  with  the  color  you  would  have  the  ground 
when  done,  trace  the  outline  of  each  figure  not  joined  by 
another  color  ; such  must  be  traced  with  the  color  you 

:M1 


342 


ORIENTAL  PAINTING. 


would  have  the  figure  ; as,  green,  if  a leaf  or  stem  ; for 
rose  or  flower,  the  color  of  the  rose  or  flower.  After 
this  has  been  traced  out  as  perfectly  as  possible,  shade 
the  leaves  by  laying  thicker  coats  when  you  would  have 
it  darker.  This  will  be  easy,  as  you  have  only  to  fol- 
low the  pattern.  Also  make  the  veins  with  a darker 
shade,  tipping  the  edge  with  the  same.  A little  practice 
will  show  where  effect  can  best  he  obtained.  Now  put 
on  your  ground,  which  should  be  composed  of  fine  white 
picture  varnish,  or,  what  is  better,  our  Outside  varnish, 
colored  with  any  dry  or  tube  oil  colors.  If  black,  lamp- 
black may  be  used  ; it  should  be  well  ground.  After 
this  is  thoroughly  dry,  lay  on  and  confine  with  this  same 
mixture,  tin  foil,  or  tinsel,  either  smooth  or  crimpled. 
Pearl  is  frequently  used  in  the  Oriental  style  ; yet  a per- 
son well  practiced  can  imitate  it  perfectly  with  the  foil, 
which  is  much  cheaper.  Cover  the  whole  with  black,  or 
very  dark  cambric,  confined  with  the  same  mixture. 

The  colors  used  must  be  transparent,  or  nearly  so  ; 
oil  tube  colors  will  answer,  or  powders  mixed  well  with 
Outside  varnish.  The  lakes  are  all  transparent,  eme- 
rald green,  raw  and  burnt  sienna,  and  others  which  any 
artist  colorman  will  inform  you  when  buying  your  colors. 


NEW  WAY  OF  PAINTING  ON  RICE-PAPER.  343 


For  gold  lines,  etc  , draw  with  the  varnish  as  if  paint, 
and  when  “dry  to  a tack,*  lay  on  gold  leaf.  If  bronze  is 
used,  it  should  be  rubbed  on  before  the  varnish  has  dried, 
(See  directions  for  “ Bronzing,”  in  the  article  on  “ Papier 
Mach6,”  page  — .) 

NEW  WAY  OF  PAINTING  ON  RICE-PAPER. 

Make  the  outline  with  a dark  lead  pencil  on  clear  and 
perfectly  white  paper,  the  same  as  for  Oriental  Painting ; 
place  the  rice-paper  on  the  toil  of  it,  and  proceed  to  paint 
with  the  transparent  colors  mixed  with  varnish  in  the 
same  manner  as  for  Oriental;  opaque  colors  can  also  be 
used.  No  difficulty  will  be  found  iu  painting  on  rice- 
paper  with  the  varnish  colors,  and  the  paper  will  not 
wrinkle  as  it  does  with  water-colors. 

Other  things  will  suggest  themselves  to  the  inventive 
mind,  where  this  style  of  painting  may  be  applied. 

* “Dry  to  a tack,”  is  a technical  expression,  and  means  practically 
dry,  viz.,  Avhen  a coat  of  paint  or  varnish  has  been  applied,  it  will,  in 
the  course  of  twenty-four  hours,  or  so,  dry  to  such  an  extent  as  not  to 
rub  olf  at  the  touch,  hut  if  one  puts  his  hand  or  finger  to  it  for  a few 
moments,  the  warmth  will  cause  it  to  stick.  This  is  the  condition  in- 
tended as  the  time  to  lay  on  the  gold. 


344 


PAINTIXG  ON  GROUND  GLASS. 


PAINTING  ON  GROUND  GLASS. 

This  is  a very  useful  style  of  painting,  as  articles  of 
every-day  need  can  be  made  beautiful  and  artistic,  such  as 
lamp-shades,  glass  doors,  vases,  and,  in  fact,  anything  for 
which  ground  glass  is  used.  The  same  trans2>arent  colors 
are  used  that  have  been  already  mentioned,  mixed  with 
varnish.  Commence  with  making  a very  faint  outline 
with  a hard  lead  pencil,  drawing  out  the  design  you  wish 
to  jjaint;  then  proceed  to  paint  the  flowers  or  birds  in 
precisely  the  same  way  as  laid  down  for  Oriental  painting. 
Be  careful,  in  this  style,  not  to  have  any  of  the  outline 
visible.  Landscapes  can  be  done  with  very  good  effect  on 
ground  glass  by  proceeding  according  to  the  method  of 
bronze  painting.  All  the  difference  is  painting  on  ground 
glass  instead  of  bronze  ground.  Wreaths  of  flowers 
around  globe  shades  for  gas  or  solar  lamps  look  very 
well. 


DIAPHANIE. 


345 


DIAPHANIE. 

It  is  scarcely  necessary  to  specify  the  purposes  to 
which  this  invention  may  be  applied.  Windows,  lamp- 
shades, fire-screens,  and,  indeed,  all  other  uses  for  which 
stained  and  ornamented  glass  is  ordinarily  employed, 
completely  superseding  the  clumsy  wire  and  other  blinds. 
As  a pleasing  occupation  for  ladies  and  gentlemen,  the 
work  is  one  of  the  most  useful  and  beautiful  of  the  imi- 
tative arts.  Cleanliness  and  the  comparatively  small 
cost  of  the  materials  used  also  recommend  it  to  the 
attention  of  those  who  have  leisure,  either  for  amuse- 
ment or  for  the  purpose  of  profit,  as  Avindows  in 
churches,  halls,  conservatories,  &c.,  may  be  decorated 
in  any  style,  ancient  or  modern,  and  made  to  appear  of 
great  beauty  and  value. 

The  unsightly  vieAV  of  walls,  chimneys,  &c.,  from 
staircase-windows,  so  frequently  an  annoyance  to  the 
eye  in  houses  situated  in  towns,  may  be  completely  ex- 
cluded without  materially  interfering  Avith  the  light,  and 
that  agreeable  appearance  given  to  an  apartment  Avhich 
stained  glass  invariably  imparts. 


346 


DIAPHANIE. 


The  designs  used  for  this  work  are  produced  by  new 
processes  in  lithography,  and  possess  all  the  richness 
and  fullness  of  color  obtained  by  the  most  expensive  art 
of  glass-staining. 

The  materials  used  in  the  work  are  as  follows : 
Glass  to  decorate,  prints  or  designs,  a roller,  a bottle  of 
clearing-liquid,  a bottle  of  washable  varnish,  a few 
brushes,  and  a bottle  of  vitreous  cement. 

The  roller  is  employed  to  press  the  paper  upon  the 
glass,  to  remove  the  bubbles  of  air : this  can  not  be  ac- 
complished without  much  difficulty  by  any  other  means, 
as  the  paper  is  apt  to  tear ; which,  of  course,  spoils  the 
picture. 

Observations.  — In  decorating  a window,  the  effect 
as  a whole  is  to  be  considered.  For  example,  the  posi- 
tion of  a window  : if  at  a distance  or  elevation  from  the 
eye,  the  design  should  be  bold.  Avoid,  particularly  if 
the  panes  be  small,  crowding  each  pane  with  little  de- 
signs : the  window-frames  should  not  be  made  conspicu- 
ous by  putting  a border  round  each  frame  ; but  the  same 
grounding  should  be  used,  as  a rule,  and  the  border 
placed  round  the  whole  window,  so  as  to  make  it  appear 
one  window,  and  not  a number  of  little  ones.  Neither 


DIAPHANIE. 


347 


should  the  different  styles  be  mixed.  Frequently  parts  of 
several  sheets  are  used  to  form  one  window  : they  should 
be  chosen  with  some  regard  to  the  harmony  of  colors. 

The  smallness  of  the  cost,  and  the  greater  ease  with 
which  the  operations  are  performed,  render  it  desirable 
to  use  separate  glass,  cut  to  the  size  of  the  window  ; and, 
when  finished,  they  may  be  fixed  in  the  sash  or  frame 
with  a few  brads,  a bead,  or  any  similar  contrivance. 
However,  windows  already  fixed,  if  within  reach,  may 
be  decorated  without  being  removed,  but  it  is  more 
difficult. 

One  advantage  in  using  separate  pieces  of  glass  is, 
that  in  cleaning  there  is  no  liability  of  damage  ; besides, 
they  may  be  removed  at  pleasure.  Common  sheet-glass, 
flat,  free  from  specks  and  bubbles,  should  be  selected. 

Instructions.  — Clean  the  glass,  and  lay  it  flat  upon 
a folded  cloth  ; and,  having  obtained  the  necessary  mate- 
rials, cut  out  the  medallions  or  subjects  (unless  the 
paper  is  to  be  applied  in  one  piece),  and  proceed  to  ar- 
range and  fasten  it  in  its  appointed  place  in  the  manner 
hereinafter  described. 

If  there  is  to  be  a border,  that  is  to  be  next  attended 
to.  This  finished,  damp  the  printed  side  of  the  ground- 


348 


DIAPHANIE. 


ing-paper,  and  lay  it  over.  Raise  one  end  of  the  glass, 
and,  looking  through  it,  you  will  perceive  the  exact  posi- 
tion the  subject  and  border  occupy  ; trace  round  them 
carefully  with  a blacklead-pencil : remove  the  ground- 
ing, and  cut  it  out,  taking  care  to  cut  a trifle  within  the 
pencil-marks,  so  that  the  ground  may  overlap  the  subject 
a little. 

When  this  is  done,  thoroughly  damp  the  uncolored 
side  of  the  paper  witli  sponge  and  cold  water  ; turn  it 
over,  and  apply  a generous  coating  of  vitreous  cement  to 
the  colored  surface  with  a flat  camers-hair  brush  of 
moderate  width,  and  at  once  apply  the  cemented  side  to 
the  glass,  pressing  it  down  with  the  roller,  commencing 
at  the  center,  and  gradually  passing  to  the  edges,  which 
should  cause  the  superfluity  of  cement  to  ooze  out  a lit- 
tle. This  effectually  removes  all  air-bubbles  ; and,  if  the 
cement  has  been  properly  applied,  no  difficulty  will 
occur.  Keep  the  white  side  damp  during  this  operation. 

See  that  your  roller  works  well  before  you  commence, 
or  your  work  may  be  irrecoverably  spoiled.  It  is  advis- 
able to  have  sorne  pieces  of  wetted  paper  laid  over  the 
design,  between  it  and  the  roller,  to  prevent  the  cement 
getting  on  to  the  roller.  When  the  cement  has  become 


DIAPHANIE. 


349 


hard  and  dry  (about  eighteen  hours  is  sufficient),  the 
paper  can  be  removed  by  wetting  it  once  more,  and 
rubbing  it  with  a piece  of  cloth,  a sponge,  or  the  hand. 
The  whole  of  it  may  thus  be  removed,  as  the  cement 
holds  with  considerable  tenacity  the  colored  surface  on 
to  the  glass  ; care  must,  however,  be  taken  not  to  rub 
too  hard  or  too  much  Avhen  the  greater  portion  of  the 
paper  is  removed,  or  a blemish  may  thereby  be  caused. 
Be  careful  to  keep  the  work  wet  during  this  operation  ; 
and,  when  finished,  stand  it  by  for  a little  time  to  dry  ; 
then  coat  it  over  with  clearicg-liquid  ; and,  when  this  has 
become  dry  and  hard,  a coating  of  the  washable  varnish 
completes  the  work.  Both  the  clearing-liquid  and  the 
varnish  should  be  applied  with  flat  camel’s-hair  brushes. 

Remarks.  — If  the  colors  on  the  sheet  are  not  suffi- 
ciently rich,  they  may  be  heightened  ; or  if  there  be  any 
scratches  or  blemishes,  tliey  may  be  hidden  by  applying 
color  of  the  same  tint.  If  they  are  retouched  with 
water-color,  it  will  be  requisite  to  thinly  coat  over  what 
you  paint  with  varnish  : if  you  retouch  it  with  varnisli- 
paint,  same  as  is  used  for  Oriental,  there  will  be  no  occa- 
sion. The  same  holds  good  if  you  color  over  with  lamp- 
black the  joinings. 


350 


DIAPHANIE. 


SECOND  METHOD. 

Give  the  glass  an  even  coating  of  the  transfer-varnish 
or  antique-varnish,  — either  will  do  ; and,  as  soon  as  this 
becomes  sticky,  damp  the  back  of  the  prints  with  a 
sponge  and  cold  water,  and  apply  them  to  the  glass,  and 
press  down  well  with  the  roller,  as  before  directed. 
Should  the  adhesion  be  imperfect,  through  the  varnish 
drying  uneqally,  it  may  be  remedied  by  holding  it  a few 
minutes  to  the  fire.  When  the  varnish  is  quite  dry,  the 
back  of  the  print  should  have  one  or  two  coatings  of 
clearing-varnish  ; if  two,  the  first  must  be  dry  before  the 
second  is  applied.  Allow  the  work  to  remain  a day  or 
so,  and  apply  a coating  of  copal- varnish.  The  joinings 
can  be  penciled  over  with  lampblack. 

SHEETS  OF  PLAIN  COLORS. 

Very  pretty  windows  may  be  made  with  the  sheets  of 
plain  colors,  by  cutting  out  the  design  with  a sharp  pen- 
knife, and  applying  it  to  the  glass,  afterwards  entirely 
covering  the  window  with  a second  color  : thus,  if  blue 
has  been  first  put  upon  the  glass,  the  design  cut  out,  and 
another  sheet  of  crimson  is  covered  over  the  whole,  the 
design  will  be  crimson,  relieved  by  purple  ; or,  the  glass 
may  first  be  entirely  covered,  and  any  design  in  a second 
color  cut  out  and  applied. 


MAGIC  LANTERN. 


LACE  the  glass  upon  whatever  you  wish 
to  paint,  whether  a colored  design  or 
only  a sketch,  and  outline  with  your  fine  brush  and 
neutral  black  in  the  same  manner  as  for  Oriental,  and 
paint  them  in  with  your  transparent  colors,  the  same 
as  used  in  Oriental  painting.  If  it  is  a landscape, 
make  the  distant  mountains  (if  any)  with  a pale  shade 
of  blue  and  crimson  lake : at  a later  painting  add  a 


352 


MAGIC  LANTEEl^^. 


little  yellow  lake,  and  repeat  with  these  three  colors  in 
different  proportions  until  the  effect  required  is  produced. 
Paint  the  foliage  with  yellow  lake  and  a little  blue.  For 
autumnal  foliage,  add  a little  burnt  sienna ; stems  of 
trees,  Vandyke  brown  and  burnt  sienna  ; flesh  tints  make 
with  yellow  lake,  crimson  lake,  and  burnt  sienna,  reduced 
very  much  with  varnish.  The  coloring  generally  must  be 
painted  strong,  as  it  is  to  be  magnified  very  much  when 
exhibited  on  the  disk.  Paint  the  clouds  pale  blue,  and 
dab  the  paint,  while  wet,  with  a bit  of  cotton  rolled  into  a 
light  ball.  This  process,  if  done  with  care,  has  a very 
soft,  fleecy  effect. 


laintim  fln  ilass. 


I'ROCURE  the  first  quality  of  German 
or  French  glass,  (cut  quarter  of  an 
inch  larger  all  round  than  the  picture,  to  allow  for 
framing,)  and  make  it  perfectly  clean  ; apply  with 
a stiff  brush  a very  thin  coat  of  Antique  varnish, 


354 


ANTIQUE  PAINTING  ON  GLASS. 


which  will  be  thoroughly  dry  in  six  hours.  Then 
apply  another  coat  of  the  same,  thin  and  A^ery  equal 
and  smooth ; allow  this  to  dry  about  one  hour,  until 
nearly  dry,  strongly  adhering  to  the  finger  when  touched, 
but  not  sticky.  Then  put  on  the  engraving,  (having 
damped  it  thoroughly  with  warm  water,  not  too  wet, 
absorbing  the  extra  moisture  with  a cloth  or  blotting 
paper,)  Avith  the  face  to  the  varnish  side  of  the  glass  ; 
press  it  gently  until  every  part  adheres  to  the  surface ; 
rub  carefully  Avith  the  finger  a part  of  the  paper,  being 
sure  not  to  rub  through  the  engraving.  After  it  has 
dried  tAvelve  hours,  wet  again,  and  rub  off  all  the  paper, 
leaving  only  the  engraving.  When  again  dry,  moisten 
carefully  with  fine  bleached  drying  oil.  It  is  then  ready 
for  painting.  The  colors  will  strike  through  very  freely, 
as  there  is  no  paper  left,  and  Avill  not  spot  as  the  Gre- 
cian is  liable  to  do.  Do  not  use  any  turpentine  in 
this  style.  The  directions  are  the  same  as  for  Grecian 
painting,  except  more  pains  should  be  taken  to  shade 
and  blend  in  the  colors,  to  help  the  shading  in  the  en- 
graving, particularly  the  flesh  color  Avith  the  hair.  It 
will  be  found  that  fine  transparencies  may  be  made  as 
aboA^e.  The  glass,  after  it  is  prepared  for  painting,  re- 
sembles ground  glass. 


ANTIQUE  PAINTING. 


355 


Unmounted  Photographs  may  be  done  in  the  same  man- 
ner. Convex  glasses  of  different  sizes  may  be  obtained 
which  have  been  made  expressly  for  this  work,  and  there 
are  various  methods  of  using  them,  many  of  which  are 
claimed  to  be  new  inventions,  but  the  principle  is  the 
same  in  all,  and  are  borrowed  from  our  original  introduc- 
tion of  Antique  Painting  on  Glass.  One  of  these  methods, 
viz.,  “Chromo  Photograph}’,”  has  been  quite  extensively 
practised  all  over  the  country. 

Read  what  is  said  on  page  415,  “ For  using  ordinary 
engravings  or  prints  upon  glass,”  before  attempting  tliis 
work. 


of  painting,  but  combines  oil,  varnish,  transfer.  Oriental, 
bronze,  gilding,  raising,  enamel,  pearling,  and  others. 
We  propose  to  treat  each  one  under  a separate  head,  so 
as  to  be  better  understood. 

Papier  mache  painting  dates  its  origin  from  the  Chi- 
nese method  of  bronzing  and  gilding  on  lacquered  ware 


PAPIER  MACHE. 


357 


but  has  undergone  so  many  changes  and  improvements, 
that  in  some  branches  bronze  and  gilding  have  little  or 
nothing  to  do  with  it,  and  a complete  change  has  taken 
place.  Flower  painting  with  varnish  colors  has  been  intro- 
duced with  splendid  effect ; birds,  with  a gorgeous  array 
of  brilliant  plumage,  contributing  to  make  the  style  attrac- 
tive. An  impetus  was  given  to  papier  mache  manufac- 
turers as  a good  remunerative  trade  ; the  ornamental 
department  had  to  keep  pace  with  it ; superior  artistic 
talent  was  called  for,  and  in  this  splendid  and  superb 
work  the  artist  had  another  avenue  opened  for  his 
skill.  A new  style  of  bronze  painting,  with  landscape 
designs,  was  introduced,  and  combination  designs  of  land- 
scape, flowers,  and  birds  soon  found  their  way  to  the 
public  eye.  Papier  mache,  (when  well  made,)  being  a 
compact,  unyielding  body,  capable  of  being  wrought  by 
skillful  workmen  into  a variety  of  useful  and  ornamental 
articles,  soon  found  its  way  into  general  favor,  until 
it  may  be  said  that  no  boudoir  or  drawing  room  is 
fashionably  furnished  without  papier  mache  holding  a 
perspicuous  situation,  to  reflect  the  taste  of  the*  pro- 
prietor. 

We  do  not  intend  to  give  a minute  description  of  the 


358 


PAPIER  MACHE. 


method  of  manufacture  — it  would  be  foreign  to  our 
purpose  ; but  as  we  are  to  write  pretty  fully  concern- 
ing the  ornamentation,  we  will  give  a theoretical  glance 
at  it.  There  are  two  ways  of  making  it ; one,  making 
it  with  sheets  of  paper ; the  other,  with  pulp,  as  the 
name  implies.  To  make  the  sheet,  absorbent  paper  is 
employed,  and  the  sheets  pasted  together  with  a paste 
composed  of  flour  and  glue,  upon  moulds  of  the  re- 
quired shape,  then  put  into  stoves,  or  hot  rooms,  as 
they  are  called,  heated  to  about  200°  Farenheit,  or  more ; 
when  dry,  they  are  taken  from  the  moulds  and  steeped 
in  oil,  and  allowed  to  absorb  as  much  as  they  will  take, 
and  put  again  into  the  hot  room  ; let  them  remain  there 
until  perfectly  dry  ; then  the  fabric  is  ready  to  be  dressed, 
as  the  technical  term  is  — in  other  words,  it  is  worked  by 
cabinet  makers  like  wood,  and  wrought  into  the  required 
shapes  ; then  coated  with  black  varnish,  or  varnish  paint, 
the  color  desired ; hardened  again  in  a hot  room  of  about 
150°  Fahrenheit,  then  rubhed  smooth  with  pumice  sand 
and  polished  with  rottenstone.  In  the  other  way,  the 
paper  is  reduced  to  a pulp  with  water  ; the  water 
strained  from  it  when  the  paper  is  sufficiently  soft,  and 
paste  and  glue  mixed  with  it ; the  pulp  is  then  ready 


PAPIER  MACHE. 


359 


to  put  into  moulds,  with  great  pressure,  hardened,  and 
finished  off*  in  various  ways. 

The  flower  painting  on  papier  mache  is  frequently  called  enamel 
painting.  The  style  of  painting  when  acquired  can  as  readily  be 
painted  on  prepared  wood,  iron,  tin,  paper,  etc.,  as  papier  mache. 
The  colors  to  be  used  are  precisely  the  same  as  those  enumerated 
for  the  Oriental^  and  are  mixed  in  the  same  way.  To  com- 
mence a painting,  make  a correct  outline  of  the  picture  on 
thin  white  paper,  rub  some  of  your  white  powder  all  over  the 
back  of  it,  and  trace  the  design  on  your  j^icture  with  the  end  of 
one  of  your  pencil  sticks  cut  to  a sharp  point ; when  you  have 
carefully  traced  in  all  the  design,  remove  the  paper,  and  you  have 
your  picture  drawn  out,  transferred,  as  it  were.  Now,  with  your 
white  mixed  according  to  directions  in  another  page,  coat  over  all 
the  flowers  (retaining  the  shape)  thinly  with  white,  and  by  the 
time  you  have  finished  the  last  one  the  first  will  be  dry  enough  for 
another  coat.  Each  flower  should  have  three  coats  of  white  to 
make  it  solid.  The  flowers  that  are  intended  for  yellow  should 
now  be  coated  over  once  entirely  with  chrome  yellow,  and  the 
scarlet  flowers  once  over  with  the  opaque  scarlet  ; the  leaves 
must  next  be  penciled  in  with  opaque  green  made  with  chrome 
yellow,  a little  white,  and  some  Prussian  blue  ; go  over  the 
whole  with  a middle  tint  first  ; then  use  more  white  and  yel- 
low, and  put  on  some  lighter  tints  where  you  wish  the  lights  to  be. 
For  stems  and  fine  work  use  the  same  colors.  Transparent  colors 
are  next  to  be  ready,  and  it  is  better  in  this  stage  of  the  painting 
to  allow  a day  to  intervene  before  proceeding  further.  Paint  pink 
roses  and  geraniums  with  rose  pink  ; the  darker  shades  with 
crimson  lake ; dark  red  flowers  with  crimson  lake  ; for  darker 
shades,  use  a little  blue  with  the  crimson  lake.  For  blue  flowers 


360 


PAPIER  MACHE. 


use  light  blue  in  the  light  shades,  and  finish  the  darker  parts  by 
adding  a little  of  the  Prussian  blue ; for  delicate  purple  flowers 
use  rose  pink  and  a little  light  blue  ; for  stronger  and  darker  pur- 
ples, use  crimson  lake  and  Prussian  blue  ; for  yellow  flowers,  use 
a pale  shade  of  burnt  sienna  ; for  scarlet,  use  crimson  lake  in 
different  degrees  of  strength  ; for  the  darker  shades  it  will  be 
requisite  to  use  the  full  strength  of  the  crimson  lake,  and  for 
still  darker  add  the  least  touch  of  blue  ; white  flowers  must  be 
shaded  delicately  with  neutral  tint  made  of  yellow  lake,  crimson 
lake,  and  blue,  weakened  very  much  with  varnish  ; or  another  neu- 
tral is  made  with  Vandyke  brown  and  light  blue,  likewise  weak- 
ened very  much  with  varnish.  The  shades  of  all  the  flowers  must 
be  repeated  until  finished  to  suit  the  eye.  The  green  leaves  come 
next.  They  are  coated  over  partially  with  transparent  green  made 
with  yellow  lake  and  Prussian  blue  ; the  shades  are  varied  and 
repeated  according  to  the  tints  required.  If  a yellowish  green, 
the  yellow  lake  must  predominate ; if  a cooler  and  bluer  green,  use 
a little  more  blue ; for  autumnal  leaves,  or  withered  ones,  use  burnt 
sienna  and  a little  crimson  lake,  and  a little  yellow  lake  if  requi- 
site. Some  few  darker  shades  will  be  required  on  some  parts  of 
the  leaves,  especially  those  that  are  underneath  the  flowers.  To 
obtain  this,  use  a little  Vandyke  brown  and  Prussian  blue.  The 
leaves  are  now  ready  for  the  veins  ; do  these  with  Vandyke  brown 
and  a little  crimson  lake  with  it ; the  stamens  to  the  flowers  are 
painted  in  with  the  same  color ; the  anthers  do  in  with  chrome 
yellow,  and  dot  them  with  burnt  sienna;  the  green  leaves  are 
finished  by  touching  the  veins  with  a faint  outline,  here  and  there, 
with  chrome  yellow  against  the  veins  already  on.  The  flowers 
are  all  finished  with  this  exception ; some  of  them,  especially 
the  pink  ones,  may  want  a slight  tinge  of  neutral  (very  pale) 
just  against  the  edges,  to  soften  them  a little ; and  a little  white. 


PAPIER  MACHE. 


3G1 


weakened  with  varnish,  may  be  used  to  advantage  just  at  the 
edges  of  flowers ; it  materially  helps  to  break  any  little  abrupt- 
ness or  harshness. 

The  painting  is  now  finished,  and  should  remain  a week  or  more 
to  dry  before  varnishing.  The  two  sized  brushes  used  for  this 
kind  of  painting  are  a crow  quill  with  the  hair  about  five  eighths 
of  an  inch  long,  and  a duck  quill  about  half  an  inch  long. 

To  succeed  well  in  Enamel  'painting^  we  would  advise  the  pupil 
to  practice  with  the  brush  and  indian  ink,  the  followmg  figures. 


In  making  the  first  figure,  you  press  the  brush  on  your  paper, 
draw  it  along  a little  gradually,  decreasing  the  pressure  until  it 
terminates  in  a fine  point ; a few  pages  should  be  carefully  made 


3G2 


PAPIER  MACHE. 


of  that  one  figure.  The  second  is  produced  in  the  same  manner, 
with  one  inclining  to  the  right  and  one  to  the  left ; make  at  least 
a page  of  these.  The  third  figure  is  made  of  the  same  marks 
repeated,  and  brought  close  to  each  other.  The  fourth  is  the 


same.  The  fifth  is  the  third  and  fourth  combined,  and  is  the  way 
to  form  leaves.  The  sixth  commences  with  the  brush  just  touch- 
ing, then  gradually  pressing  down  a little,  and  tapering  off  again 
with  light  pressure.  The  seventh  is  the  same  but  very  small. 
Those  figures,  when  well  practiced,  greatly  facilitate  the  free  ma- 


PAPIER  MACHE. 


363 


nipulation  of  all  the  first  coating  of  Enamel  painting.  They  can 
be  practiced  with  India  ink,  or  any  common  paints,  as  the 
object  is  simply  to  train  the  hand.  The  brush  should  be  held 
nearly  upright  ; by  so  doing  you  have  more  command  than 
when  it  is  at  an  angle  suitable  for  writing.  A variety  of  forms 
will  suggest  themselves  to  the  artist. 

Bronzing. 

prepare  paper  board  for  bronz- 
ing : Coat  it  over  with  a strong 
solution  of  size  made  by  dis- 
solving isinglass  in  hot  water ; 
strain  it,  and  coat  over  the 
paper  with  a flat  camel’s  hair 
brush  while  the  size  is  warm. 

When  it  is  dry,  coat  it  over 
thinly  and  evenly  with  gold 
size  ; let  it  remain  until  it  feels 
sticky;  then  apply  the  po'wder  bronze  with  a dry,  soft  brush. 

To  bronze  metal  plates,  papier  mache,  and  prepared  wood  boards : 
Have  a smooth  surface,  coat  it  evenly,  thoroughly,  and  thinly  with 
gold  size,  using  a flat  camel’s  hair  brush,  (be  sure  it  is  clean 
and  free  from  dust,)  and  be  careful  to  cover  every  part.  Allow 
it  to  dry  until  it  feels  sticky  ; then  apply  the  bronzes  with  a soft 
and  dry  camel’s  hair  brush.  When  you  have  covered  it  Avith 
bronze,  by  Avarming  the  article,  and  applying  more  bronze  Avhile 
it  is  Avarm,  the  bronze  can  be  made  much  more  solid,  as  Avarm- 
ing  brings  back  the  sticky  property  of  the  gold  size,  and  causes 
more  bronze  to  adhere  to  it. 


364 


PAPIER  MACHE. 


Bronze  Painting. 

ROCEED  to  bronze  according  to 
the  directions  under  the  head  of 
Bronzing,  only  you  can  introduce 
a variety  of  shades  of  bronze,  if 
you  wish.  We  invariably  use 
three,  if  not  more,  viz.,  pale, 
blush,  and  white.  Blend  them 
together  to  suit  your  subject,  and 
allow  a couple  of  days  to  elapse 
before  commencing  to  paint,  so 
that  it  may  dry.  We  will  suppose  it  is  a landscape,  with  moun- 
tains in  the  distance,  water  mid- distance,  and  foliage  and  building 
and  figures  in  the  foreground.  Make  a correct  drawing  of  what 
you  want,  on  thin  white  paper,  rub  some  white  on  the  back  of  it, 
fit  it  upon  your  picture,  and  mark  over  with  the  sharp  end  of  a 
pencil  stick,  pressing  on  very  lightly  ; after  all  is  drawn  in,  remove 
your  sketch,  and  faintly  mark  over  the  lines  with  a lead  pencil. 
If  you  are  copying  from  an  engraving,  observe  on  Avhat  part  of  the 
building  the  light  strikes,  and  select  those  parts  for  gold,  coating 
them  over  with  gold  size,  and  putting  on  the  leaf  gold  when  suf- 
ficiently dry,  (according  to  the  directions  already  given.)  If  there 
are  any  parts  of  your  figure  (such  as  rich  dresses)  which  you  want 
rich  color,  do  them  at  the  same  time  with  gold.  The  painting  must 
now  be  wiped  with  a clean  silk  handkerchief,  to  remove  all  the 
bits  of  gold  and  dust ; and  supposing  that  the  thimble  palette  is 
ready,  with  all  the  colors  mixed,  according  to  the  directions 
previously  given,  we  first  mix  a pale  tint  of  purple,  made  with 
Prussian  blue  and  a little  crimson  lake,  and  pencil  over  the  moun- 


PAPIER  MACHE. 


365 


tains  evenly,  then  go  over  the  water  with  a very  pale  shade  of 
blue.  After  coating  the  mountains  and  water  once,  it  is  better 
not  to  touch  them  again  until  they  are  dry.  Now  paint  in  the 
foliage,  making  the  tints  with  yellow  lake  and  Prussian  blue  ; if 
you  want  them  bright,  for  the  ditferent  shades  add  burnt  sienna,  or 
Vandyke  brown,  or  both,  as  your  tints  require.  Stems  of  trees 
are  mostly  done  with  Vandyke  brown,  and  other  tints  added  to 
suit  the  eye  ; faces  of  figures  do  with  white  and  a little  sienna 
mixed  together  ; white  drapery  coat  over  with  white,  scarlet  with 
scarlet,  and  yellow  with  chrome  yellow  ; all  other  parts  of  figures 
with  white,  exce]:>t  the  parts  you  have  already  gilded.  This  will 
suffice  for  the  first  painting.  The  second  shade  upon  the  moun- 
tains is  made  with  a neutral  composed  of  the  three  primitive  colors, 
viz.,  crimson  lake,  yellow  lake,  and  Prussian  blue.  The  tone  that 
you  desire  must  predominate  in  making  all  your  neutrals  ; for 
instance,  if  you  want  a bluish  neutral,  the  blue  must  predominate  ; 
if  you  want  a greenish,  the  yellow  lake  must  predominate  ; and 
if  reddish  neutral,  let  the  crimson  lake  predominate.  Having 
selected  your  shade,  be  sure  to  have  it  about  the  right  strength 
before  beginning,  as  it  is  difficult  to  avoid  a patched  appearance  on 
the  mountains  with  varnish  color,  especially  on  the  second  and 
third  coating,  unless  you  are  quick  in  your  movements.  If  the 
water  requires  more  color,  paint  it  in  the  darker  places,  then 
repeat  the  shades  on  the  foliage  where  it  is  requisite.  Your  figures 
now  claim  some  attention.  Any  part  you  want  crimson,  paint 
over  gold  with  crimson  lake,  and  you  have  a splendid  color  ; 
repeat  it  when  a little  dry,  if  you  wish  it  darker,  and  for  the 
shades  add  a little  blue  with  your  crimson  lake.  Blue  dresses 
paint  with  a pale  shade  of  Prussian  blue  on  white  or  pale  gold  ; 
for  the  shades,  paint  in  with  a little  stronger  Prussian  blue. 
(Please  bear  in  mind,  when  you  wish  a pale  shade  of  any  of  these 


366 


PAPIER  MACHE. 


colors,  especially  mountains,  to  add  varnish  ; and  when  you  want 
to  thin  it,  use  turpentine.  We  call  attention  to  this,  because  it  is 
rather  difficult  to  manage  varnish  colors  at  first,  owing  to  their 
drying  up  so  rapidly  ; but  by  a little  practice  you  soon  find  out  that 
if  worked  with  proper  consistency  the  process  is  not  difficult.) 
Green  dress,  with  yellow  lake  and  Prussian  blue  on  pale  gold  or 
white ; purple  dresses,  with  crimson  lake  and  a little  Prussian 
blue  on  white  or  pale  gold.  Any  part  of  the  figure  you  do  with 
scarlet,  shade  it  with  crimson  lake ; yellows  shade  with  burnt 
sienna,  pale  shade.  Faces  : paint  the  features  in  with  Vandyke 
brown,  and  different  tints  with  yellow  lake,  crimson  lake,  and 
sienna,  paled  down,  and  repeated  to  suit  the  eye.  Parts  of  the 
mountains  may  require  a third  and  fourth  wash  ; if  so,  attend  to 
them  with  the  neutrals  named  above.  Sometimes  we  highten  the 
effect  of  the  near  foliage  by  touching  the  edges  with  a little  opaque 
color  made  of  chrome  yellow,  white,  and  a little  blue.  It  must  be 
done  very  carefully,  as  opaque  colors  are  powerful,  compared 
with  transparent  ones.  If  what  you  do  shows  too  abruptly,  you 
have  a remedy  by  putting  on  a little  more  of  the  transparent  color. 
Parts  of  the  figures  may  be  hightened  by  a touch  here  and  there 
of  opaque  color,  and  the  faces  are  almost  sure  to  want  a little 
retouching  with  opaque.  When  your  painting  is  all  finished,  a 
full  week  should  intervene  before  varnishing  ; and  great  care  must 
be  observed  not  to  touch  the  bronze,  as  the  hand  or  fingers  inva- 
riably leave  a stain,  bronze  being  so  delicate. 

Varnishing.  — In  varnishing  papier  mache  paintings,  care  must 
be  taken  to  have  a clean  brush,  and  your  painting  must  be  wiped 
with  a silk  handkerchief  to  free  it  from  dust.  Lay  the  painting 
flat,  and  with  a one-inch  flat  camel’s  hair  brush  coat  over  with 
copal  varnish  as  evenly  as  possible,  being  careful  to  cover  every 
part ; leave  it  flat  down,  as  it  is,  for  a couple  of  hours  or  more, 


PAPIER  MACHE. 


367 


before  removing,  or  the  varnish  is  liable  to  run  in  streaks.  Once 
varnishing  is  quite  sufficient  to  preserve  the  painting ; but  if  you 
wish  to  polish  it,  another  coat  of  varnish  must  be  given,  allowing  a 
week  between  ; then  after  another  week,  it  should  be  rubbed  with 
pumice  sand  and  water,  in  the  following  manner  : — 

Hoav  to  polish.  — Get  a piece  of  woolen,  put  it  over  some 
cotton,  to  make  a rubber  of  it ; wet  the  rubber  with  water  pretty 
thoroughly,  dip  it  into  some  fine  pumice  sand,  and  rub  it  back- 
wards and  forwards  on  your  varnished  picture  carefully  Avith  a 
moderate  pressure.  After  you  have  rubbed  a short  time,  wipe 
the  sand  from  a part  of  it,  to  see  the  progress.  If  not  sufficiently 
smooth,  rub  a little  more,  care  being  taken  not  to  rub  through  the 
varnish,  or  you  will  rub  the  paint.  When  it  is  pretty  smooth, 
wash  all  the  sand  off,  wipe  it  perfectly  dry,  and  give  it  another 
coat  of  A'arnish,  allowing  the  same  time  for  it  to  dry ; then  rub 
again  as  before  Avith  Avater  and  pumice  sand.  When  smooth 
enough,  Avash  off  all  the  sand,  and  proceed  to  polish  with  very 
finely  powdered  rottenstone,  and  a rubber  made  of  soft  satin  or 
silk.  Saturate  this  with  water,  and  rub  Avith  the  rottenstone  for 
a little  time,  until  it  shines  ; then  wash  it  all  off.  You  can  make  it 
shine  more  by  rubbing  it  Avith  your  hand,  using  a fcAV  touches  of 
sweet  oil  and  a little  more  rottenstone. 

Hoav  to  prepare  Wood.  — Ydien  wood  is  used  for  painting 
any  of  the  papier  mache  styles,  it  is  better  to  choose  the  closest 
grain,  and  proceed  to  coat  it  over  several  times  with  paint  (either 
oil  paint  or  varnish  paint),  rubbing  doAvn  with  pumice  sand  and 
water  after  the  third  coat.  The  number  of  coats  taken  to  prepare 
varies  according  to  the  texture  of  the  Avood,  as  it  is  necessary  to 
coat  it  over  until  it  is  perfectly  smooth  and  level.  Proper  time 
should  be  alloAved  between  each  coat  of  paint,  so  that  it  may 
dry  hard. 


368 


PAPIER  MACHE. 


Enamel  painting  looks  very  well  painted  on  a bronze  ground, 
and  suits  admirably  for  tables,  chairs,  and  other  furniture. 

Glass  vases  have  a rich  effect  bronzed  all  over  or  partially  ; 
perhaps  an  oval  or  a round,  front  and  back ; and  if  you  wish  to 
paint  upon  it,  proceed  exactly  in  the  same  way  as  directed  for 
enamel  painting  or  bronze  painting. 

Chinese  Raising.  — Trace  the  design  in  the  same  way  as  in  the 
directions  for  tracing  designs  for  enamel  painting.  The  raising 
composition  is  made  of  two  parts  of  white  lead,  one  part  of 
litharge,  and  one  part  of  umber,  and  mixed  Avith  gold  size  and  a 
little  varnish,  into  a paste,  and  thinned  with  turpentine.  Put  on 
your  raising,  when  mixed,  with  a small  brush,  being  careful  to 
float  it  on  evenly.  ^Yhen  you  have  raised  all  the  parts  you  wish 
in  your  design,  let  it  remain  flat  till  the  next  day.  Repeat  the  same 
until  you  get  the  parts  raised  as  high  as  you  wish.  When  all  the 
raising  is  done,  three  or  four  days  should  be  allowed  for  it  to  dry 
and  harden,  (a  moderate  heat  of  the  fire  will  facilitate  the  drying  ;) 
coat  over  the  raised  parts  with  gold  size,  and  proceed  with  the 
gilding  according  to  the  directions  for  gilding.  Tavo  sorts  of  leaf 
gold  are  generally  introduced  — pale  and  dark  — so  the  picture 
will  require  two  separate  sizings  ; next,  size  with  clear  gold  size 
all  the  ground  and  mountains,  (supposing  your  subject  to  be  a 
regular  Chinese  design,)  and  Avhen  dry  enough,  shade  on  some 
powdered  bronze  Avith  a dry  brush.  Fine  leaves  and  small  trees 
can  be  introduced  Avith  opaque  green  made  Avith  chrome  yelloAv 
and  Prussian  blue,  and  little  floAvers  painted  in  with  Avhite  and 
stained  with  red,  blue,  or  yellow.  The  gold  can  be  etched  Avith 
black  and  shaded  a little  Avdth  neutral  black.  The  bronze  ground 
stain  with  transparent  green  and  a little  sienna ; afterward  intro- 
duce a few  gold  spangles,  (put  them  on  with  varnish ;)  this  makes 
the  ground  look  sparkling,  and  add  ■;  greatly  to  the  finish  of  it. 


PAPIER  MACHE. 


3G9 


When  quite  finished,  let  it  dry  a week  before  varnishing : there 
is  no  occasion  to  varnish  all  over  your  picture,  but  only  the  part 
that  is  painted. 

Pearling.  — Prepare  the  design,  marking  all  the  parts  you  wish 
to  have  pearl.  Trace  the  design  upon  the  article,  — we  will  sup- 
pose it  to  be  a small  table,  — same  as  tracing  for  enamel,  before 
explained.  Pemove  jmur  drawing,  and  place  on  all  your  pearl. 
See  how  it  looks.  If  satisfactory,  get  some  spirit  varnish  and  a 
small  camel’s  hair  brush.  Pemove  one  piece  of  pearl  at  a time,  put 
some  of  the  varnish  in  the  place  with  the  small  brush,  and  fit  on  the 
pearl,  pressing  it  down  so  as  to  lie  flat.  Go  through  with  all  the 
pearl  in  the  same  way  ; some  of  the  large  pieces  may  want  a weight 
put  on  to  keep  them  flat.  Next  day  give  it  a coat  all  over  with 
black  varnish  made  with  the  spirit  varnish  and  lampblack.  Pepeat 
the  coat  (a  flat  camel’s  hair  brush  is  best  for  varnishing)  twice  a 
day  for  the  first  three  or  four  days.  When  the  pearl  seems  jn’etty 
nearly  even  with  the  black,  scrape  all  the  black  off  the  pearl  by 
means  of  a chisel  or  knife,  being  careful  not  to  remove  any  of  the 
black  any  where  else  by  letting  the  knife  or  chisel  slip.  When 
all  is  scraped  off,  you  can  commence  coating  it  over  again.  This 
time  add  a little  Prussian  blue  with  your  black  varnish : it  makes  a 
more  brilliant  black.  (The  proportions  are,  to  one  pint  of  spirit 
varnish  add  one  and  a half  ounces  of  lampblack  and  half  an  ounce 
of  Prussian  blue.)  Coat  it  three  or  four  times  over  if  it  requires 
it ; then  scrape  off  the  black  from  the  pearl  again.  If  it  seems 
pretty  level,  we  will  proceed  with  the  next  process ; (if  not,  coat 
again  as  before,  and  scrape.)  Get  some  stout  broadcloth,  and  make 
a good  substantial  rubber  by  stuffing  in  some  soft  cotton  ; tie  it 
round,  so  that  you  can  handle  it  conveniently ; put  some  turpentine 
in  a saucer  with  some  pumice  sand,  and  charge  your  rubber  well 
with  this,  and  rub  away  till  you  get  a smooth  surface  all  over. 


370 


PAPIER  MACHE. 


When  smooth  enough,  wasn  the  sand  all  off  with  turpentine ; then 
rub  it  with  rottenstone  and  water,  using  this  time  a rubber  made 
of  silk  or  satin  ; this  rids  it  of  all  sticky  property  that  remains  from 
the  turpentine  rubbing.  You  have  now  got  through  the  troublesome 
part  of  it ; getting  rid  of  every  thing  in  the  shape  of  black  varnish 
specs,  you  are  ready  for  the  next  step.  If  you  wish  to  have 
some  leaf  gold  introduced,  make  your  selection  of  what  you  will 
have,  and  prepare  a little  gold  size  by  mixing  in  a little  chrome  yel- 
low, so  as  to  enable  you  to  see  better  what  you  are  about.  Coat 
over  the  leaves  or  stems,  or  both,  with  the  gold  size,  and  proceed 
with  the  gilding  according  to  the  directions  for  gilding.  If  any 
more  flowers  are  in  your  group  than  what  are  pearl,  it  is  requisite 
to  coat  them  over  with  white,  proceeding  exactly  in  the  same  way  as 
in  the  directions  laid  down  under  the  head  of  Enamel  Painting.  The 
pearl  flowers  you  shade  with  their  respective  colors,  so  as  not  to 
cover  up  too  much  pearl.  For  instance,  if  you  want  to  shade  a 
rose,  do  it  Avith  crimson  lake  on  the  shade  side  of  the  flower,  leav- 
ing the  pure  pearl  to  answer  for  the  lights.  When  your  painting  is 
all  finished,  you  allow  sufficient  time  for  it  to  dry,  and  proceed  with 
the  varnishing  precisely  as  in  enamel  work  and  bronzing. 

Gilding  on  Satin,  Paper,  Cloth,  Light-colored,  Unpre- 
pared Woods,  etc.  — Sometimes  gilding  is  required  upon  only 
small  parts  of  articles.  In  such  cases  use  strong  isinglass  solution, 
made  according  to  the  directions  written  before  — the  purer  the 
better.  Take  a small  camel’s  hair  brush,  and  coat  over  with  the 
isinglass  size,  while  it  is  warm,  the  places  you  ivish  to  gild.  W^hen 
dry,  proceed  with  your  gold  size,  same  as  the  gold  size  gilding. 
The  reason  of  applying  the  isinglass  size  is  to  satisfy  the  porous 
nature  of  the  fabric,  and  make  a delicate  kind  of  crust  as  a founda- 
tion for  the  gold  size.  If  you  wish  to  paint  flags  and  banners  with 
oil  paint,  you  must  coat  over  the  parts  first  with  isinglass  size. 


PAPIER  MACHE. 


371 


Gilding. 


NY  part  you  wish  to  have  leaf 
gold  it  is  requisite  to  cover 
evenly  with  gold  size,  (a  little 
chrome  yellow  or  white  lead 
may  be  mixed  in  with  the  gold 
size  merely  to  enable  you  to  see 
the  process,)  and  allow  it  to 
dry  until  it  feels  a little  sticky; 
it  can  remain  much  longer  than 
for  bronzing,  as  leaf  gold  does 
not  require  so  strong  a sticky  property  as  bronze.  When  suffi- 
ciently dry,  put  on  the  gold  by  means  of  the  tip,  as  described  in 
glass  gilding ; or,  if  you  are  expert  enough,  put  it  on  with  your 
fingers  from  the  gold  book.  Be  careful  to  cover  every  part  of 
the  gold  size  with  smooth  leaf  gold,  and  when  all  covered,  press 
gently  with  a piece  of  soft  chamois  leather  on  all  the  gilded  parts, 
and  remove  the  superfluous  gold.  If  these  directions  are  strictly 
followed,  you  can  not  fail  to  have  good  smooth  gilding  ; but  if  the 
gold  size  is  put  on  thick  and  uneven,  and  the  leaf  gold  put  on  too 
soon,  the  gold  will  look  rough  and  dark,  and  be  very  unsatisfactory 
to  the  eye  when  you  get  more  experienced. 


L PAINTING' 

Any  one  can  paint  in  oil-colors  who 
has  previously  practised  the  instructions  giving  in  our 
chapters  on  drawing  in  pencil,  charcoal,  crayon,  etc. 

Those  who  have  any  previous  knowledge  of  mixing 
color,  even  though  it  be  water-color,  will  find  the  mixing 
of  tints  in  oil  easier  for  them,  as  a good  many  of  the 
same  colors  combined  will  produce  the  same  result.  As 
for  instance,  yellow  and  blue,  green;  lilue  and  red,  pur- 
ple: etc.  The  materials  required  for  oil  painting  are  oil- 


* The  oil-colors  made  by  F.  W.  Devoe  & Co.,  New  York,  are  recom- 
mended by  many  of  the  leading  artists  of  this  country. 

372 


OIL  PAINTING. 


373 


colors*  in  tubes,  brushes,  palette,  a palette-knife  for 
rubbing  the  colors  together  on  the  palette,  and  drying- 
oil.  The  drying-oil  is  for  diluting  or  thinning  the  colors, 
and  will  also  hasten  the  drying  so  that  the  subject-will  be 
sooner  ready  for  the  second  painting. 

The  smallest  box  contains  all  the  colors  necessary  for 
a beginner.  But  crimson  lake  and  chrome  are  not  as  good 
colors  as  madder,  lake,  and  cadmium.  These  two  former 
are  much  cheaper  colors,  and  perfectly  good  substitutes 
for  a beginner.  To  those  who  are  more  advanced  the 
publishers  will  send  the  more  expensive  colors  to  re- 
place crimson  lake  and  clirome  on  receipt  of  difference 
of  price  when  desired  to  do  so.  These  boxes  include 
enough  brushes  for  all  ordinary  purposes,  but  those  re- 
quiring more  brushes  can  easily  obtain  them  from  the 
publisher  of  this  book. 

Each  artist,  either  from  inclination  or  habit,  becomes 
accustomed  to  using  a certain  set  of  colors,  that  is,  a 
certain  palette.  The  colors  in  these  boxes  are  selected 
as  those  which  are  found  in  common  upon  the  greatest 
number  of  palettes.  Those  who  wish  separate  tubes  of 
colors  can  obtain  them  from  the  publishers  of  this  book. 

* The  publishers  of  this  hook  furnish  boxes  of  oil-colors  from  $2.00 
upwards.  See  chapter  on  materials. 


374 


OIL  PAINTING. 


After  painting  you  must  be  careful  to  wash  your 
brushes.  The  best  way  of  proceeding  is,  after  you  have 
done  painting,  wash  them  out  in  turpentine,  and  occa- 
sionally in  warm  water  and  soap,  rubbing  on  the  palm 
of  the  hand  until  the  frotii  is  colorless.  Rinse  the  brushes 
out  in  clean,  cold  water  to  free  them  from  soap,  press  all 
the  water  out,  and  straighten  the  hairs  to  dry.  In  rubbing 
the  brushes  in  your  hand,  be  careful  not  to  rub  too  hard, 
or  the  hairs  will  be  injured. 

Artists  differ  somewhat  in  the  compound  used  as  a dry- 
ing-oil, and  some  of  them  make  theif  own,  in  which  case 
they  are  rather  disposed  to  imagine  it  a little  superior  to 
anything  else  in  use;  that  which  may  be  found  at  any  first- 
class  artist  material  store  will  answer  every  purpose. 

In  oil  painting,  as  in  water-color  painting,  there  are 
several  kinds  of  manipulation  peculiar  to  the  different 
styles.  Water-color  has  its  own  treatment  of  erasing, 
rubbing,  and  wiping  out,  etc.,  while  oil  painting  glories 
in  glazing,  scumbling,  dragging,  etc.  Different  artists 
have  different  methods  of  manipulation  to  produce  the 
same  effect,  and  yet  each  is  truthful  to  nature. 

Explanation  of  Technical  Terms  used  in  Oil 
Painting.  Glazing.  — To  glaze  is  to  coat  thinly  or 


OIL  PAINTING.  375 

thickly  over  a portion  of  the  picture  with  transparent 
color;  if  the  glaze  is  wanted  thin  and  pale,  drying- 
oil  is  added  to  dilute  the  strength  of  the  color.  Semi- 
transparent and  opaque  colors  are  sometimes  used  for 
glazing,  but  they  are  so  diluted  with  megilp  or  oil,  that 
they  are  rendered  nearly  transparent.  With  opaque 
colors  used  in  this  way  a good  representation  of  smoke, 
dust,  or  vapor  can  be  produced,  likewise  misty  and  hazy 
appearances.  Glazing  must  never  be  attempted  until  the 
under  paint  is  perfectly  dry,  or  the  color  will  mix  with 
the  glaze,  and  destroy  all  the  effect  you  have  secured. 

Scumbling  is  a term  used  for  reducing  any  part  of 
a picture  that  is  too  forcibly  painted.  A bristle  brush  is 
best  adapted  for  this  purpose,  charged  sparingly  with 
opaque  color,  of  the  tone  you  wish,  drawing  it  lightly 
over  the  parts,  so  as  to  modify  them,  make  them  cooler, 
grayer,  and  less  defined.  Good  distant  atmospheric  effects 
are  produced  by  scumbling;  the  under  color  must  in  all 
cases  be  firm  and  dry,  or  the  bristle  brush  will  disturb  it. 

Handling  is  another  term  for  manipulation,  and  means 
the  method  of  working  the  brush  to  produce  certain  effects. 

Dragging  or  Dry  Touching. — This  process  is  used 
when  certain  effects  are  wanted  in  the  finishing.  The 


376  PAINTING. 

brush,  being  charged  with  thick  paint,  is  held  loosely 
in  the  hand,  and  dragged  over  certain  parts;  a portion 
of  the  color  sticks  to  the  part  of  the  picture  with  which 
the  hair  thus  gently  comes  in  contact. 

Management  of  Light.  — When  painting  at  the  easel, 
the  light  should  come  over  the  left  shoulder;  if  the  light 
is  from  a side  window,  cover  the  lower  part  with  a cloth 
or  board.  A north  light  is  preferable  to  any  other, 
because  it  is  more  uniform.  After  painting,  the  brushes 
should  be  washed,  the  palette  well  cleaned,  never  leav- 
ing paint  on  it  over  night.  If  there  be  more  color  on 
your  palette  than  you  like  to  throw  away,  procure  some 
small  pieces  of  glass,  three  or  four  inches  square; 
transfer  the  paint  to  these,  and  place  them  in  a dish  of 
clean  water  so  that  the  water  will  cover  them  (oil  and 
water  will  not  mix):  most  of  the  colors  will  keep  good 
for  a considerable  time,  if  immersed  in  water  and  the 
dust  kept  from  them. 

How  TO  COMMENCE  AN  OiL  PICTURE.  — If  you  are 
sufficiently  accurate  in  sketching,  you  can  with  charcoal, 
or  white  crayon,  make  a few  guiding  marks;  then  mark 
in  correctly  with  lead  pencil,  dusting  off  the  crayon  or 
charcoal  as  you  proceed.  If  the  subject  is  complicated, 


OIL  PAINTING. 


377 


the  better  way  is  to  make  a clear,  correct  outline  on  a 
sheet  of  paper,  and  trace  it  on  the  canvas  by  means  of 
tracing  paper;  then  sketch  it  with  a lead  pencil.  Some 
artists  sketch  with  umber,  diluted  with  oil.  The  canvas 
is  now  ready  for 'the  first  coloring.  Begin  by  preparing 
tints  for  the  sky.  As  white  enters  into  this  preparation 
pretty  extensively  it  is  requisite  to  get  sufficient  from 
the  tube  at  once,  and  thin  it  with  oil,  as  it  is  consider- 
ably too  thick  for  use  in  this  stage  of  the  painting.  Sky 
tints  are  composed  of  white,  French  or  permanent  blue, 
vermilion,  and  yellow  ochre.  Mix  them  as  near  the  tints 
as  the  subject  demands.  The  same  tints  strengthened 
with  more  color,  will  do  for  the  mountains,  using  a 
little  more  of  the  yellow  ochre  in  the  mid-distance,  and 
working  gradually  toward  the  foreground,  for  which  mix 
a set  of  requisite  tints,  keeping  them  all  separate,  and 
painting  with  firmness,  placing  the  color  at  once  where 
it  is  to  remain.  In  some  paintings,  two,  tliree,  or  more 
sittings  are  requisite  to  complete  what  is  called  the  first 
painting. 

Second  Painting.  — It  is  requisite  for  the  first  paint- 
ing to  be  dry  before  commencing  the  second.  Prepare 
the  palette  with  the  required  tints  for  the  clouds,  and 


378 


OIL  PAINTING. 


paint  them  in  with  a little  more  attention  to  the  shape, 
and  light  and  shade.  The  mountains  come  next  in  order: 
attend  more  particularly  to  their  shapes  and  diflerent 
shades;  and,  as  a general  rule,  let  the  early  painting  be 
of  a light  style  of  color,  for  in  finishing  the  colors  are 
cooled  down  by  the  process  of  glazing  and  scumbling. 
All  the  colors  in  drying  sink,  and  will  partake  a little 
of  the  color  upon  which  they  are  laid.  This  second  paint- 
ing should  give  a good  idea  of  the  general  effect  of  what 
the  picture  will  be. 

Third  Painting.  — A few  touches  of  scumbling  may 
be  required  to  aid  the  effect  of  the  distance;  or  a little 
glazing  and  scumbling  may  be  wanted,  to  bring  out  cer- 
tain desirable  effects  in  the  middle  ground.  The  tints 
used  for  these  purposes  may  be,  as  occasion  requires, 
either  brighter  or  darker  than  the  parts  to  which  they 
are  applied.  In  this  stage  of  the  painting,  do  not  attempt 
too  much  at  one  sitting,  as  the  different  glazings  may  in- 
terfere with  each  other,  and  destroy  tlie  transj^arent  effect. 
It  is  much  better  to  let  the  colors  dry  gradually,  and  re- 
peat the  glazing  at  another  time. 

Op.servations.  — 1st.  The  sky  in  some  pictures  is 
very  important,  having  an  influence  over  the  entire 


OIL  PAINTING. 


379 


painting.  In  preparing  sky  tints,  they  are  gradually 
more  or  less  mixed  with  white.  The  tints  are  kept  lighter 
as  they  approach  the  sun ; the  colors  vary,  but  they  should 
be  produced  by  few.  The  most  useful  sky  colors  are 
white,  French  or  permanent  blue,  vermilion,  madder 
or  crimson  lake,  and  yellow  ochre. 

2d.  The  boundary  sky  line,  or  extreme  distance,  varies 
very  much  in  tone;  sometimes  distinctly  seen,  at  others 
scarcely  distinguished  from  the  horizontal  tones.  Suit- 
able colors  must  be  selected  to  paint  in  these  effects.  Dis- 
tant mountains  will  sometimes  have  their  summits  quite 
visible,  and  their  bases,  although  much  nearer,  not  seen; 
this  is  occasioned  by  mists  and  vapors.  To  obtain  such 
effect,  scumbling  must  be  resorted  to. 

3d.  If  it  be  possible,  paint  in  the  distance  while  the 
sky  is  moist,  with  the  same  tints,  only  stronger,  as  the 
case  may  be.  If  time  will  not  allow,  scumble  over  the 
lower  part  of  the  sky  at  the  next  painting.  This  method 
is  sometimes  attended  with  better  effect  than  the  other. 

4ch.  As  the  objects  advance  toward  the  foreground,  a 
little  more  distinctness  of  color  may  be  given.  Accidental 
touches  of  light  give  important  aid  by  separating  the 
foliage,  and  different  objects  through  the  picture,  from 


380 


OIL  PAINTING. 


distance  to  foreground.  Emerald  green  may  be  objected 
to  by  some  artists;  to  such  we  would  recommend  to  try 
with  vermilion  or  one  of  the  bright  reds,  and  judge  for 
themselves. 

5th.  Trees  form  an  important  item  in  general  land- 
scape. Tile  color  and  shape  should  be  attended  to,  and 
the  disposition  of  the  branches  carefully  studied.  Pencil 
in  the  foliage  against  the  sky,  and  all  the  extreme  parts, 
neatly  with  a small  brush. 

6th.  In  working  up  foregrounds,  do  not  elaborate 
them  with  a pre-Raphaelite  minuteness,  or  it  might  in- 
terfere with  the  rest  of  the  picture.  The  landscape  is  not 
intended  to  be  painted  with  botanical  accuracy;  nor,  on  the 
other  hand,  should  you  be  too  broad,  coarse,  and  careless, 
but  finish  with  a general  harmonious  keeping  of  the  whole. 

7th.  The  distance  must,  to  a certain  degree,  melt  into 
the  horizon,  so  as  to  know  where  ethereal  finishes,  and 
where  solidity  begins;  the  mid-distance  should  be  made 
out  more  clearly,  and  particular  attention  should  be  paid 
to  the  details  of  the  foreground. 

(Mixed  tints,  see  page  386.) 


GRECIAN  PAINTING. 


This  style  of  Painting  consists  in  painting  with  oil 
colors  * on  the  back  of  an  eno^raving  first  rendered  trans- 
parent  by  means  of  a certain  finid  called  Grecian  Varnish. 
It  is  so  simple  of  execution  that  it  requires  no  previous 
knowledge  of  colors,  and  the  result  produced  is  not  only 
effective,  but  quite  artistic.  For  a beginner  all  the  colors 
necessary  for  this  style  of  painting  will  be  found  in  the 
boxes  of  oil  colors  sold  by  the  publishers  of  this  book. 

* The  oil  colors  made  by  F.  W.  Devoe  & Co.,  are  used  for  this  style  of 
painting. 


381 


382 


GRECIAN  PAINTING. 


We  now  give  directions. 

First  have  a pine  frame  made,  about  an  inch  in  thickness 
and  about  half  an  inch  wide,  the  inside  of  which  shall  fit 
neatly  around  the  edge  of  the  engraving.  Then  lay  your 
frame  upon  the  engraving  and  draw  with  a pencil  upon 
the  engraving  around  the  outer  edge  of  the  frame,  and 
then  cut  the  picture  down  to  that  pencil  line. 

Cover  one  side  of  your  frame  with  strong  paste,  lay 
your  picture  face  down  upon  a clean  piece  of  white  paper, 
soak  your  picture  thoroughly  with  a sponge  wet  with  clean 
water,  lay  your  frame  upon  the  picture  the  printed  side 
down,  and  press  it  firmly  down,  then  turn  it  over  and 
press  it  softly  with  your  hand  to  be  sure  that  it  adheres 
firmly  all  round;  then  leave  it  until  it  becomes  quite  dry. 

When  dry,  put  on  your  Grecian  varnish,  rubbing  it  in 
with  a bristle  brush.  Repeat  this  at  intervals  of  ten  or 
fifteen  minutes  as  many  as  four  or  five  times.  The  var- 
nishing must  be  repeated  until  the  picture  is  completely 
transparent,  and  has  no  dull  spots  in  it.  Lay  it  away  out 
of  the  dust  to  dry  for  a week  or  so,  when  it  will  be  ready 
for  painting. 

Care  must  be  given  to  the  pasting,  that  it  may  be  per- 
fectly secure.  It  is  a good  plan  to  keep  a damp  piece  of 


GRECIAN  PAINTING. 


383 


paper  over  the  middle  of  the  picture,  to  keep  it  damp 
until  the  edges  have  sufficiently  adhered  to  resist  the 
contraction  of  the  paper;  for  while  it  is  moist  it  will  hang 
loosely,  but  when  it  dries  it  will  shrink,  drawing  tightly 
across  the  frame.  Sometimes,  after  the  picture  has  been 
varnished  and  dried,  white  spots  make  their  appearance 
upon  it.  If  the  spots  come  out  in  the  course  of  a day  or  two 
after  varnishing,  coat  over  the  back  of  the  picture  witli 
turpentine,  and  let  it  remain  there  half  an  hour.  If  the 
spots  have  not  disappeared  then,  go  over  it  again  in  the 
same  way,  and  they  will  ultimately  disappear  if  you  are 
persistent. 

When  the  last  coating  of  turpentine  has  all  evaporated, 
or  nearly  so,  put  on  another  good  coat  of  varnish  and  then 
leave  it  to  dry ; the  spots  will  probably  never  come  back 
again.  In  cases  wliore  a picture  thus  made  transparent 
has  lain  unpainted  several  months,  and  white  spots  then 
appear  on  it,  it  will  be  more  difficult  to  remove  them. 
The  best  w\ay  then  is  to  place  the  picture  near  the  fire, 
where  it  will  become  slightly  warm.  Then  put  on  the 
turpentine,  which  softens  the  varnish  more  quickly  with 
the  aid  of  the  heat,  and  then  the  next  coat  of  varnish 
will  be  enabled  to  penetrate  the  paper.  The  cause  of 


384 


GRECIAN  PAINTING. 


these  spots  is  that  an  insufficient  amount  of  varnish  has 
been  applied  to  the  picture,  and  the  places  where  the 
spots  appear  have  not  absorbed  enough  to  become  thor- 
oughly saturated  with  it.  While  applying  the  varnish 
you  must  watch  the  picture  carefully,  and  wherever  a 
dull  spot  appears  put  on  more  varnish,  for  these  dull 
spots  are  what  ultimately  result  in  white  spots.  But  you 
must  be  careful  not  to  apply  too  much  varnish,  as  it 
will  (above  all,  in  hot  weather)  remain  gummy,  and  the 
colors  will  float  off  when  it  is  painted. 

If  a white  spot  should  appear,  as  sometimes  happens, 
sometime  after  a picture  has  been  painted,  the  only  way 
of  remedying  it  is  to  stipple  it  over  on  the  face  of  the 
picture  with  opaque  color  exactly  to  match  the  color  of  the 
part  aftected. 

Stippling  consists  in  making  very  fine  dots,  like  pin- 
points, close  together  upon  the  surface,  with  the  point  of  a 
camels’  hair  brush  dipped  in  color. 

The  reader  must  understand  that  the  colors  cannot  be 
laid  on  too  brightly  on  the  back,  as  they  only  partially  show 
tlirough,  which  renders  them  quite  dull  from  the  front. 

How  TO  FRAME  A PICTURE  AFTER  IT  IS  PAINTED.  — 
Let  it  remain  in  the  frame  in  which  it  is  first  stretched  till 


GRECIAN  PAINTING. 


385 


it  is  fully  dry  and  hard;  then  cut  it  out  carefully  and  frame, 
taking  care  that  it  be  not  cut  too  small  or  too  large.  If 
too  small,  the  back  board  will  not  hold  it  in  well ; if  too 
large,  it  touches  against  the  sides  in  parts,  and  causes  it 
to  wrinkle. 

To  have  it  just  right,  lay  it  upon  a flat  surface  and  the 
frame  on  it,  and  mark  the  size  with  a sharp  point,  and 
then  cut  evenly.  If,  after  all  your  care,  it  should  wrinkle 
in  time,  take  it  out  of  the  frame  and  make  another 
stretcher  or  frame  of  wood  (as  first  directed,  to  stretch  the 
picture  on,  only  stronger,  perhaps),  that  will  just  fit  your 
gilt  frame ; then  take  a piece  of  strong  cotton  cloth,  one  or 
two  inches  larger  than  the  picture  all  round,  and  paste  the 
back  of  the  picture  and  the  cloth ; after  pasting  let  both 
stand  a few  minutes  to  become  pliable,  then  lay  the  one 
on  the  other,  pasted  sides  together,  and  rub  evenly  till  well 
fastened ; now  tack  with  small  nails  or  lace  tacks  tightly 
to  the  frame;  place  the  frame  against  some  smooth  surface, 
and  secure  it,  while  drying,  with  larger  nails  driven 
through  the  frame,  after  making  suitable  holes.  It  will 
dry  smooth  and  tight  if  properly  done. 

Varnish  the  picture  hut  once  on  the  face,  after  it  is  framed 
(not  before),  with  outside  varnish;  this  must  be  j^ut  on 


386 


GRECIAN  PAINTING, 


evenly,  and  with  care,  that  it  does  not  run ; have  but  little 
in  the  brush  at  a time. 

Articles  desirable  for  Grecian  Painting.  — Pal- 
ette, palette  knife,  one  inch  fiat  bristle  brush,  one  inch 
fiat  varnish  brush,  (we  use  two  different  brushes;*  one  we 
keep  entirely  for  the  Grecian  varnish,  the  other  for  var- 
nishing over  the  front  with  mastic  varnish  when  finished,) 
three  sized  sable  brushes,  (one  miniature  size.)  Grecian 
varnish,  mastic  varnish,  (or  outside  varnisli,)  spirits  of 
turpentine,  drying  oil.  — Colors.  Flake  white,  light  red, 
vermilion,  crimson  lake,  Vandyke  brown,  raw  and  burnt 
sienna,  chrome  yellow,  yellow  ochre,  ivory  black,  emerald 
green,  and  permanent  blue. 

We  will  give  a few  general  hints  for  mixing  various 
tints,  without  reference  to  any  particular  picture.  They 
will  always  be  found  useful.  Flesh  tints,  white,  a little 
chrome  and  a little  vermilion;  sometimes  for  children, 
white  and  a very  little  vermilion;  for  old  age,  (weather- 
beaten,) light  red  and  white.  Light  hair,  j^ellow  ochre 
and  white;  these  two  colors  will  give  all  the  shades  of 
light  and  dark  brown  hair.  Flaxen  hair,  raw  sienna  and 

* These  brushes  are  not  included  in  our  boxes,  but  may  be  obtained 
from  the  publishers  of  this  book. 


GRECIAN  PAINTING. 


387 


white.  Golden  hair,  raw  sienna,  white,  and  a little  burnt 
sienna.  Distant  mountains,  permanent  blue,  white,  a little 
chrome,  and  light  red.  Nearer  ones,  use  yellow  ochre  in- 
stead of  white  and  chrome.  Mid-distances,  the  same,  some- 
times allowing  the  yellow  ochre  and  blue  to  predominate. 
Distant  foliage,  yellow  ochre,  permanent  blue,  and  a little 
light  red.  Near  foliage,  chrome  and  permanent  blue,  with 
a little  white ; very  bright  foliage,  emerald  green,  chrome 
yellow,  and  a little  white.  Brown  foliage,  burnt  sienna, 
chrome,  and  permanent  blue ; Vandyke  brown,  substituted 
for  burnt  sienna,  will  make  another.  Grays,  white  and  a 
little  ivory  black ; another,  white,  chrome  yellow,  perma- 
nent blue,  and  a little  vermilion.  Pink,  crimson  lake,  and 
white;  for  crimson,  vermilion;  for  deep  maroon,  use  light 
red.  Buff,  white  and  yellow  ochre  ; warmer  huff,  white  and 
a little  raw  sienna.  Orange,  chrome  yellow  and  vermilion. 
Blue  eyes,  permanent  blue  and  white.  While  these  tints  are 
all  for  the  back  of  the  picture,  the  front  is  treated  differently. 
Any  part  that  is  required  to  be  brighter  must  be  glazed  over 
with  transparent  color;  for  instance,  a bright  red  garment  or 
flower  is  coated  with  vermilion  on  the  back  side,  and  crimson 
lake,  diluted  with  a little  drying-oil,  on  the  right  side.  Pink, 
dress  or  flower,  paint  with  crimson  lake  and  white,  on  the 


388 


GRECIAN  PAINTING. 


wrong  side,  and  glaze  over  on  the  front  with  crimson  lake. 
Blue  dresses  or  flowers,  paint  on  the  back  with  permanent 
bine  and  white,  and  finish  on  the  front  with  blue  and  drying- 
oil.  All  dresses  or  flowers,  of  the  yellow'class,  are  finished 
on  the  front  with  burnt  sienna,  weakened  with  drying-oil. 
Brown  hair,  with  Vandyke  brown.  Lips,  with  vermilion  and 
white  on  the  wrong  side,  and  vermilion  and  drying-oil  on 
the  right.  Yor  purple,  mix  vermilion,  permanent  blue,  and 
white,  for  the  back  color,  and  finish  on  the  front  with  crim- 
son lake  and  blue. 

Observations.  — 1st.  All  colors  used  for  the  back  of  the 
picture  must  be  opaque ; the  opaque  colors  used  are,  white, 
black,  chromes,  light  red,  vermilion.  The  transparent 
colors  are,  both  siennas,  crimson  lake,  permanent  blue,  Van- 
dyke brown.  As  a general  rule,  the  transpareiit  color  that 
is  mixed  with  white  for  the  back  color,  is  the  transparent 
color  that  must  be  used  for  the  front,  diluted  with  drying- 
oil,  to  suit  the  required  strength  of  tint;  this  stands  good  in 
all  cases,  except  yellows ; these  various  shades  of  yellow  we 
invariably  tint  on  the  front  with  burnt  sienna  and  drying 
oil. 

2d.  In  tinting  on  the  front  side,  dilute  the  color  with 
drying-oil,  using  it  very  sparingly.  If  we  wish  to  heighten 


GRECIAN  PAINTING. 


389 


any  part  still  more,  we  use  a touch  of  opaque  very  spar- 
ingly; for  instance,  if  we  want  a reddish  brown  dress  in- 
clining to  a deep  crimson,  we  coat  the  back  with  fine  light 
red,  and  the  front  with  crimson  lake ; and  if  we  wish  to 
bring  out  a few  high  lights,  we  add  a little  of  the  light  red; 
if  too  strong,  subdue  it  with  some  drying-oil. 

3d.  In  painting  faces,  paint  a spot  of  pure  vermilion  on 
the  cheeks,  and  the  rest  of  the  face  (omitting  the  eyes  and 
lips)  with  flesh  tint;  then,  with  the  end  of  your  finger, 
blend  in  the  vermilion  (working  your  finger  round)  with 
the  flesh  tint;  this  must  be  done  carefully.  Look  occa- 
sionally on  the  front  side,  to  see  if  the  tints  are  blending 
evenly,  and  in  the  right  place  of  the  cheek;  if  this  part  is 
done  satisfactorily,  the  beautiful  roseate  tinge  on  the  cheek 
is  made  much  softer  than  in  any  other  way.  Foliage  tints, 
mountains,  and  clouds  can  be  manipulated  in  the  same  way. 

4th.  Water  is  generally  the  reflected  color  of  the  sky, 
unless  something  intervenes  to  overshadow  it;  in  that  case, 
make  the  back  tint  with  permanent  blue,  Vandyke  brown, 
and  a little  yellow  ochre;  glaze  with  yellow  ochre,  Van- 
dyke brown  on  the  front.  If  any  light  ripples  are  intro- 
duced, use  chrome  and  white  very  sparingly  with  the 


same. 


390 


GKECIAN  PAINTING. 


5th.  Sometimes,  when  painting  on  the  back,  the  color, 
after  standing  a day  or  so,  separates  into  small  fissures 
or  cracks.  This  is  caused  by  the  varnish  not  being  thor- 
oughly dry ; it  is  of  no  consequence,  and  is  only  mentioned 
here  to  satisfy  the  fears  of  some.  To  remedy  it,  coat  it 
over  again  at  a later  stage  of  the  painting,  when  it  is 
drier. 

When  the  painting  is  entirely  finished,  let  it  remain  a 
week  or  so,  till  thoroughly  dry;  then  give  it  an  even  coat 
of  mastic  or  outside  varnish ; let  the  painting  lie  flat  down 
until  the  varnish  is  quite  dry,  or  it  is  liable  to  run  in 
streaks.  The  picture  is  then  ready  for  framing,  and  should 
be  allowed  to  remain  on  the  stretching  frame,  as  it  keeps 
smooth  and  firm.  The  rabbet  of  the  frame  should  be  made 
wide  enough  to  admit  the  full  size  of  your  picture,  stretch- 
ing frame  included. 

GRECIAN  PAINTING  APPLIED  TO  PHOTO- 
GRAPHS. 

The  method  of  painting  which  we  have  just  given  as 
Grecian  Painting  may  also  be  applied  to  unmounted  photo- 
graphs. For  the  benefit  of  those  of  our  readers  who  may 
not  be  acquainted  with  the  subject,  we  will  say  that  photo- 


GRECIAN  PAINTING. 


391 


gi'aphs  are  printed  on  quite  thin  albnraenized  paper,  and 
afterwards  mounted  or  pasted  on  thick,  cards,  in  which 
form  they  are  usually  delivered  by  the  photographer, 
although  they  may  be  had  unmounted.  This  paper  is 
made  especially  for  printing  photographs  upon,  and  is 
so  hard  and  firm  tliat  it  may  be  washed  and  soaked  in 
water  for  hours  at  a time  without  injury  to  it,  so  that  a 
photograph  may  be  mounted  and  soaked  off  any  reason- 
able number  of  times.  Directions  for  mounting  will  be 
found  in  the  chapter  on  “Amateur  Photography,”  page 
325.  For  soaking  oft*  immerse  the  subject  in  a vessel  of 
clean  water  and  let  it  remain  until  it  is  sufficiently  softened 
to  allow  of  the  separation;  it  may  require  from  half 
an  hour  to  an  hour’s  time.  Then  wash  it  carefully 
until  all  of  the  paste  has  been  removed,  when  it  may 
be  allowed  to  dry. 

Tlie  next  stage  in  the  proceedings  will  be  to  prepare  the 
subject  for  clearing.  As  photographs  do  not  usually  have 
sufficient  margin  to  allow  of  the  same  treatment,  for  which 
directions  have  been  given  in  the  chapter  on  Grecian  Paint- 
ing, it  will  be  necessary  to  enlarge  them;  this  can  be  done 
by  the  addition  of  a border,  for  which  procure  a jiiece  of 
strong  stout  paper,  somewhat  larger  than  the  jdiotograph. 


392 


GRECIAN  PAINTING. 


two  inches  all  around,  make  a frame  of  this  by  cutting 
out  the  centre  so  that  the  opening  will  be  a little  smaller 
than  the  photograph  for  which  it  is  to  form  tlie  border,  viz., 
if  the  photograph  measures  4x6  inches,  make  the  opening 
3|  X 5|;  this  will  allow  a space  of  J of  an  inch  all  around  to 
which  it  (the  paper  bordei*),  should  be  listened  with  paste 
to  the  photograph.  In  fastening  them  together  apply  paste 
to  the  border  only,  then  dampen  the  photograph  sufficiently 
to  cause  it  to  lay  flat  when  it  is  placed  on  the  paj^er  border, 
and  be  careful  to  see  that  it  is  securely  attached  entirely 
around;  hold  it  in  place  with  some  pressure  until  dry,  a 
flat  board  with  a weight  on  it  will  be  all  that  is  necessary, 
after  it  has  thoroughly  dried  it  can  be  attached  to  a wooden 
frame  in  precisely  the  same  manner  which  has  been  de- 
scribed in  the  chapter  on  Grecian  Painting,  except  that  in 
sponging  the  paper,  it  will  only  he  necessary  to  sponge  the 
border,  being  careful  not  to  wet  any  of  the  portion  which 
has  been  pasted.  After  this  follow  the  directions  given  in 
the  chapters  on  Grecian  Painting,  omitting  the  turpentine. 
A photograph  can  he  more  easily  cleared  than  an  engrav- 
ing, and  will  be  more  transparent.* 


* The  Devoe  colors  will  he  found  admirable  for  this  work. 


PAINTING  PHOTOGRAPHS  IN  OIL-COLORS. 


The  following  chapter  on  Painting  Photographs  in  Oil- 
rolors  * is  given  as  it  has  appeared  in  former  editions  of 
this  book.  “ Artist  Colors  and  How  to  Mix  Them  ” will 
inform  the  reader  how  to  make  from  our  boxes  all  of 
the  colors  which  will  be  needed  for  the  work. 

How  to  Prepare  the  Photograph. — Get  some  size,  and 
melt  it  in  a dish  over  a slow  fire;  when  it  is  dissolved, 
strain  it  through  flannel  into  a soii|>plate,  and  immerse 
the  photograph  in  it.  When  it  is  sufficiently  saturated 
with  the  size,  take  it  out  and  let  it  dry,  then  paste  it 
down  on  card-board,  and  it  is  ready  for  use.  Another 
method:  Dip  a flat  camel-hair  tool  into  the  size,  and  go 

* The  oil-colors  made  by  F.  W.  Devoe  & Co.,  are  especially  recom- 
mended. 


393 


394 


PHOTOGRAPH  PAINTING  IN  OIL  COLORS. 


over  both  sides  of  the  photograph.  If  it  be  insuffi- 
ciently prepared,  the  colors  will  sink  in  those  parts  where 
there  is  a paucity  of  size,  and  you  must  give  it  another 
coat. 

Oil  Colors.  — The  following  is  a table  of  tints  in  very 
general  use  with  artists ; but  it  must,  however,  be 
clearly  understood  that  they  are  capable  of  many  mod- 
ifications to  meet  almost  every  variety  of  color  observable 
in  nature.  Portraits  of  ladies,  but  children  more  espe- 
cially, require  the  tints  for  the  first  and  subsequent  paint- 
ings to  be  kept  exceedingly  delicate  and  pearly  ; for  the 
adult  male  head  the  colors  must  be  more  powerful. 


TABLE  OF  TINTS  FOR  THE  FIRST  PAINTING. 

FLESH. 


White  and  Light  Red. 

White,  Naples  Yellow,  and  Ver- 
milion. 

White  and  Naples  Yellow. 
White,  Vermilion,  and  Light  Red. 

Gray,  Pearly,  and  Half  Tints. 
White,  Vermilion,  and  Black. 
VTiite  and  Terre  Verte. 

WTiite,  Black,  Indian  Red,  and 
Raw  Umber. 


Deep  Shades. 

Light  Red  and  Raw  Umber. 
Indian  Red,  Lake,  and  Black. 

Carnations. 

White  and  Indian  Red,  (powerful 
color.) 

White  and  Rose  Madder. 

White  and  Lake. 


PHOTOGRAPH  PAINTING  IN  OIL  COLORS.  395 


, Light  Hair. 

White  and  Yellow  Ocher. 

"White  and  Roman  Ocher. 

White  and  Vandyke  Brown,  for 
the  dark  parts. 


HAIR. 

White  and  Raw  Umber  for  the 
dark  parts. 

Dark  Broion  Hair. 

Raw  and  Burnt  Umber. 

White  and  Raw  Umber. 

White,  Vandyke  Brown. 


First  Painting.  — Lay  out  the  palette  in  the  following 
order:  Place  the  lightest  flesh  tints  nearest  the  right 
hand ; next  in  succession  those  having  more  color  in 
them ; then  the  middle  and  shade  tints ; and  lastly,  the 
pure  colors.  Use  megilp  as  a vehicle,  if  you  wish  to 
paint  thinly,  and  add  a little  turpentine  to  it. 

Begin  by  laying  on  the  high  lights,  gradually  descend- 
ing into  the  more  florid  parts,  till  you  arrive  at  the  mid- 
dle tones,  which  in  their  turn  descend  into  the  shadows. 
Lay  the  color  on  the  lights  of  some  consistency,  but  let 
the  shadows  be  thin. 

Be  careful  not  to  work  the  lights  about  with  your 
brush,  but  lay  them  on  boldly  and  full.  Put  in  a gray 
tint  for  the  white  of  the  eye,  and  paint  the  iris  and  pupil 
upon  it.  Take  a warm  shade  color,  and  mark  out  the 
features,  and  lay  in  the  lips  with  a tint  considerably 


* Megilp  is  composed  of  drying  oil  and  mastic  varnish  ; stir  gently  together  till 
they  incorporate,  and  let  the  mixture  remain  until  it  becomes  thick. 


39 G PHOTOGRAPH  PAINTING  IN  OIL  COLORS. 


under  nature ; indeed,  it  is  necessary  to  force  up  the 
whole  of  the  coloring  to  allow  for  it  sinking  in  drying. 
Proceed  to  the  hair  and  eyebrows,  lay  in  the  shades,  and 
after  them  the  lights,  define  the  draperies  in  the  like 
way,  and  rub  in  the  background,  beginning  with  the 
lightest  part.  When  you  have  got  on  thus  far,  take  a 
softener  — a badger’s  hair  tool  — and  go  gently  over  the 
whole  of  the  face  to  round  it,  and  make  the  various  tints 
blend  into,  and  unite  with,  each  other. 

Second  Painting.  — Having  allowed  the  picture  ten  or 
twelve  hours  to  dry,  the  next  operation  will  be  preparing 
it  for  the  second  painting. 

Take  a sponge  moderately  charged  with  water,  and 
go  gently  over  all  the  work ; when  it  is  dry,  dip  a brush 
in  poppy  oil,  and  again  go  over  the  surface ; then  wipe  off 
the  superfluous  oil  with  a piece  of  soft  silk  as  gently  as 
you  applied  it.  This  is  termed  “ oiling  out,”  and  is 
done  that  the  subsequent  paintings  may  unite  with  the 
first.  Nevertheless,  it  is  frequently  omitted  ; but  wash- 
ing with  the  sponge  cannot  be  dispensed  with,  for  without 
it,  the  glazes  will  not  lie,  but  curdle  on  the  picture. 

* Breathe  upon  the  surface  of  the  picture.  If  it  becomes  dull  or  misty,  you 
may  safely  use  the  sponge  ; but  if  the  breath  does  not  affect  it,  do  not  go  on  — it 
is  not  dry  enough. 


PHOTOGRAPH  PAINTING  IN  OIL  COLORS.  397 


TABLE  OF  TINTS  FOR  THE  SECOND  AND  THIRD 
PAINTING.* 

High  Lights.  — White  and  Naples  yellow. 

Carnations.  — Rose  madder  and  white.  Indian  red,  rose  madder, 
and  white. 

Green  Tints.  — White  and  ultramarine  with  any  of  the  yellows. 
White  and  terre  verte,  with  the  addition  of  a little  raw  umber. 
The  above  green  tints  may  be  converted  into  green  grays. 

Gray  Tints.  — Ultramarine,  liglit  red,  and  white.  Indian  red,  lake, 
black,  and  white.  White,  ultramarine,  Indian  red,  and  raw  umber. 

Purple  Tints Any  of  the  lakes,  or  red  madders,  with  ultra- 

marine  and  white. 

Poxoerful  Shadow  Tmts.  — Indian  red,  purple  lake,  and  black. 
Indian  red,  raw  umber,  and  black. 

Strong  Glazing  Colors Light  red  and  lake.  Brown  madder. 

Vandyke  brown,  Indian  red,  and  lake  asphaltum. 

Proceed  now  to  improve  the  lights,  yellows,  and  florid 
tones,  with  tints  that  approach  your  model  ; then  glaze 
the  shadows  where  they  are  wanting  in  depth  and  color. 

The  alterations,  which  at  this  stage  are  necessary, 
should  be  made  with  the  shade  tint,  your  own  judg- 
ment guiding  you  to  the  requisite  depth  of  color  for 
that  purpose.  Look  carefully  over  all  the  photograph. 


* These  and  the  following  tints  niiuht  be  increased  Vi\moai  nd  infinUum ; but 
it  is  better  to  present  only  a few  to  the  learner,  as  a great  number  would  only 
serve  to  bewilder  him. 


398  PHOTOGRAPH  PAINTING  IN  OIL  COLORS. 

and  put  in  some  of  the  spirited  touches  about  the  eyes, 
mouth,  etc.  Then  improve  the  gray  and  pearly  tints, 
(those  about  the  mouth  and  eyes  require  very  delicate 
handling,)  and  blend  them  into  their  proximate  colors 
with  a softener.  Next  look  to  the  reflexes,  which  are 
to  be  painted,  if  possible,  without  any  white  in  them. 
Soften  the  outline  of  the  head  with  the  background,  so 
as  to  take  off  every  appearance  of  hardness,  remembering 
that  there  should  be  no  such  thing  as  a sharp  outline  in 
the  face ; a glance  at  a plain  photograph  will  at  once 
show  this  to  you.  The  lines  of  the  eyes,  mouth,  and 
nostrils  must  also  be  carefully  blended  ; but  they  must 
not  be  rendered  too  soft,  or  they  will  impart  an  air  of 
insipidity  to  the  countenance. 

Third  Painting.  — Having  proceeded  thus  far,  it  will 
be  necessary  to  sponge  the  picture  again.  Scumble  over 
the  lights  again  where  necessary,  improve  still  further 
the  luminous  tints,  and  look  to  the  glazing  and  reflexes. 
In  finishing  the  carnations,  as  little  white  as  possible 
should  enter  into  their  composition  ; and  they,  together 
with  the  lights,  should  be  laid  on  with  a fine  pencil,  and 
a quick  and  decided  touch,  keeping  them  pure  from  the 
preceding  colors.  Soften  all  the  parts  which  appeal 


PHOTOGRAPH  PAINTING  IN  OIL  COLORS.  399 


crude  or  hard,  and  finish  off*  the  background  and 
draperies.  The  hands  require  a fiesh  tint  similar  to 
the  face,  and  the  same  gray  and  pearly  tints  are  used 
for  them.  If  extreme  finish  be  aimed  at,  you  may  re- 
touch your  work  several  times,  allowing  it  to  dry  be- 
tween every  retouching. 

Draperies.  — The  scale  of  colors  is  nearly  the  same 
as  for  water ; but,  instead  of  gamboge,  yellow  ocher 
and  ocher  yellows  are  used,  and  Prussian  hlue  is  taken 
for  indigo. 

The  shades,  being  laid  in,  are  met  by  the  half  tones 
and  lights,  and  are  blended  with  a softener.  The  shad- 
ows are  then  finished  by  glazing,  and  the  lights  by 
scumbling  over  them. 

Background  Colors.  Pearly. — "White,  vermilion,  and  blue. 
White,  vermilion,  and  black.  White  and  black. 

Gray.  — White,  Venetian  red,  and  black. 

Yelloio.  — Yellow  ochre  and  white. 

Olive Yellow  ocher,  terre  verte,  and  umber. 

Stone.  — Raiv  umber  and  yellow.  Black,  white,  and  raw  umber. 

Sky.  — French  blue  and  white,  French  blue,  vermilion,  and 
white.  • 

Edges  of  Clouds.  — Yellow  ocher  and  white. 

Clouds.  Indian  red,  lake,  black,  and  white.  Brown  madder, 
French  blue,  and  white. 


Painting  with  oil  colors  on  silk  and  satin  has  been 
successfully  achieved,  but  it  is  more  difficult,  and  the 
effect  is  no  better  than  with  water-colors.  The  following 
is  the  process  : — 

Use  the  best  oil-tube  colors,  either  of  our  boxes. 

Squeeze  out  as  much  as  is  required  of  each  color  upon 
a sheet  of  blotting-paper,  and  let  it  remain  until  the  oil  is 
absorbed.  The  colors  should  then  be  mixed  with  just 
enough  turpentine  to  allow  them  to  be  handled  freely. 


400 


PAINTING  IN  OILS  ON  WOOD,  PLUSH,  ETC.  401 


The  groundwork  of  the  design  is  prepared  with  Chinese 
white,  the  same  as  for  water-color  painting.  Great  care 
must  be  taken  not  to  go  beyond  the  limits  of  the  design 
with  the  brush,  as  the  oil  left  in  the  paint  might  spread 
and  injure  the  looks  of  the  material. 

PAINTING  IN  OILS  ON  WOOD,  PLUSH, 
LINEN,  ETC. 

For  this  painting  the  same  colors  may  be  used  but  they 
should  be  thinned  with  turpentine,  as  oil  is  apt  to  spread. 
This  kind  of  painting  varies  from  the  more  delicate  style 
adapted  to  painting  small  articles,  such  as  boxes,  photo- 
graph frames,  etc.,  to  the  bolder  style  used  in  painting 
screens,  panels,  etc.  For  smaller  articles,  fine,  close  woods 
are  prettiest,  such  as  cedar,  maple,  etc.  Boxwood  or  white 
holly  cannot  be  used,  as  the  oil  from  the  paints  spreads 
upon  them.  The  woods  should  be  thoroughly  oiled,  to 
prevent  the  oil  in  the  paint  from  spreading.  If  desired 
they  can  be  highly  polished,  which  answers  the  same  pur- 
pose. All  ebonized  woods  are  suitable. 

For  the  smaller  articles,  sprays  of  flowers,  small  figures, 
birds,  and  butterflies,  are  pretty.  The  design  should  first 
be  drawn  with  pencil  if  the  article  be  unpolished,  or  out- 


402  PAINTING  IN  OILS  ON  WOOD,  PLUSH,  ETC. 

lined  with  ink  if  highly  polished.  Designs  for  eveiy  variety 
of  article  can  be  had  of  the  publishers  in  the  form  of  per- 
forations. (See  perforated  patterns.)  For  larger  articles, 
the  design  on  the  unpolished  wood  should  be  first  sketched 
in  with  charcoal,  and  if  it  is  necessary,  as  in  the  case  of  a 
complicated  design,  where  it  would  be  troublesome  to  have 
any  details  obliterated,  should  be  gone  over  with  ink.  But 
in  an  ordinary,  simple  design  this  is  tedious  and  unneces- 
sary. The  painting  on  large  articles  is  more  effective  if  it 
is  bold,  and  while  working  the  artist  should  occasionally 
leave  his  work,  and,  going  to  a little  distance,  look  at  it  in 
that  way,  as,  while  close  to  it,  he  cannot  judge  of  the  effects 
he  wishes  to  produce.  For  large  articles  the  most  eftective 
designs  are  bold,  decorative  flowers,  branches  laden  with 
blossoms  or  fruit,  tall  reeds,  flights  of  birds,  and  conven- 
tional figures.  A few  suggestions  for  articles  to  decorate 
are  here  given.  Screens,  either  in  many  panels  (or  folding 
leaves)  to  be  decorated,  showing  the  wood  as  a background, 
or  prepared  with  a cheap  coat  of  paint  by  a house  painter, 
and  then  covered  with  a surface  of  fine  oil  paints,  as  in  the 
case  of  a background  of  sky,  with  flying  birds,  small  fire- 
screens, large  panels  to  be  hung  on  the  wall,  set  in  fire- 
places, or  in  closet  doors,  also  mirror  frames,  picture  frames. 


HOUSE  DECORATION. 


403 


etc.  Old  pieces  of  furniture  can  be  made  very  charming 
by  having  them  painted  some  good  color,  such  as  dark 
olive  green,  or  for  a child’s  room  or  country  house  some 
lighter  shade,  such  as  cream  white,  pale  blue,  pale  olive 
green,  or  other  light  shades,  and  then  painting  on  the  head 
and  foot  board  of  the  bed,  the  front  of  the  bureau,  around 
the  glass,  on  the  front  of  the  washstand,  on  the  backs  of 
the  chairs,  and  in  many  other  cases  which  will  suggest 
themselves,  flowers,  birds,  reeds,  grasses,  etc.  A child’s 
bed  is  particularly  pretty  decorated  in  this  way. 

TO  DECORATE  OBJECTS  ABOUT  THE  HOUSE. 

Frequently  by  a little  good  taste  and  a little  paint  a 
house  may  be  transformed  from  an  unattractive  one  to  a 
most  charming,  original,  and  cosy  place,  such  as  one  some- 
times sees  and  wonders  over  with  envy,  when  the  decora- 
tions are  such  as  may  be  adopted  and  put  into  practice 
almost  anywhere.  Let  me  remind  my  reader  that  there  is 
hardly  anything  that  cannot  be  made  beautiful,  and  offer 
a few  suggestions.  Mantelpieces  of  white  marble,  in 
certain  rooms,  give  sometimes  a cold,  dreary  look  that 
all  the  mantel  decorations  in  the  world  will  not  soften. 


404 


HOUSE  DECORATION. 


Paint  the  mantelpieces  all  over  with  dark  paint  (house 
paint),  to  accord  with  the  paper,  olive  green,  dull  red 
(mahogany  color),  black  (ebonized  wood),  etc.  Fit  them 
up  with  shelves  of  wood  to  match.  Over  the  chimney- 
hearth,  paint  great  sprays  of  apple-blossoms  or  roses  on 
them,  and  they  will  be  transformed.  Paint  wild  roses  up 
the  sides  of  your  windows  when  you  have  no  curtains, 
carrying  them  over  on  to  the  upper  panes  of  glas5;  paint 
poppies,  golden-rod,  morning  glories,  etc.,  on  the  panels  of 
your  doors;  a long  panel,  running  horizontally  the  length 
of  your  mantelpiece,  and  hung  over  it,  will  he  pretty. 
Take  common,  heavy  brown  linen,  make  curtains,  portieres, 
splashers,  mantel-covers,  etc.,  of  it,  and  paint  boldly  in  oils 
(mixed  with  spirits  of  turpentine)  flower  designs  or  birds; 
reeds  and  rushes,  or  fleur-de-lis,  will  be  more  appropriate 
for  splashers.  Take  the  little  round,  metal,  dollar-and-a- 
quarter  clocks,  paint  them  whatever  color  you  like,  say  pale 
blue,  and  decorate  them  at  the  sides  with  daisies,  wild 
roses,  etc.,  and  they  will  be  charming.  Take  an  unattrac- 
tive, cheap  mirror  panel  and  paint  it  black  (like  ebonized 
wood),  and  decorate  it  with  golden-rod,  or  if  you  have  a 
good  glass  in  a frame  too  narrow  or  too  much  bevelled  to 
paint,  let  the  carpenter  make  you  a broad  pine  frame,  paint 


PAINTING  ON  LEATHER. 


405 


it  black,  or,  in  a chamber,  white,  light  blue,  old  gold,  or 
bright  red,  and  decorate  it  with  golden-rod,  roses,  birds, 
butterflies,  what  you  will.  The  red  should  be  decorated  in 
black,  to  represent  Japanese  lacquer,  and  should  have  some 
appropriate  designs,  such  as  bamboo,  storks,  grasses,  con- 
ventional designs,  such  as  can  be  found  in  any  cheajD 
Japanese  picture  or  article.  The  inventive  reader  can 
carry  out  these  hints  to  suit  himself,  looking  about  his  own 
home  to  find  the  articles  to  decorate  or  beautify,  and  will 
find  them  in  great  variety  if  he  once  looks  for  them. 


PAINTING  ON  LEATHER. 

Ordinary  oil  paints  should  be  used,  diluted  with  turpen- 
tine when  necessary.  The  paint  should  not  be  taken  very 
thick  upon  the  brush,  and  should  be  laid  on  smoothly. 
Camel’s-hair  brushes  are  best  for  this  painting.  It  is  like 
any  ordinary  oil  painting.  Portfolios  may  be  decorated  in 
this  way  with  flowers,  etc.,  and  are  very  prett}^  with  a 
monogram  of  the  owner  painted  in  one  corner  in  colors 
harmonizing  with  the  flowers.  Music-rolls,  book-covers, 
pocket-books,  card-cases,  etc.,  may  be  decorated  in  this 
way. 


406  PANORAMA,  MAP,  AND  SCENE  PAINTING. 


HINTS  ABOUT  PANORAMA,  MAP,  AND  SCENE 
PAINTING. 

AKE  strong  cloth  (sail  cloth  or 
canvas)  of  the  requisite  dimen- 
sions, and  stretch  it  on  a frame ; 
coat  it  thoroughly  with  parch- 
ment size,*  and  when  dry  ap- 
ply a coating  of  common 
slaked  lime,  or  of  chalk  with 
some  size  with  it:  when  dry  it 
is  ready  for  the  design.  The  colors  used  for  this  kind  of 
painting  may  be  haa  in  powder,  viz.,  chalk,  (carbonate  of 
lime),  vermilion,  the  two  siennas,  the  two  umbers,  black, 
Prussian  blue,  all  the  ochres,  Brunswick  green,  emerald 
green,  all  the  chromes,  mineral  red,  and  tlie  lakes.  They 
are  mixed  with  a size  made  of  isinglass,  glue,  or  parch- 
ment: bristle  brushes  of  various  sizes  are  mostly  used. 
For  extra  brilliant  effects,  leaf  silver,  Dutch  metal,  and 

* See  page  126,  for  making  size. 


PANORAMA,  MAP,  AND  SCENE  PAINTING.  407 


silver  foil  are  stuck  on  with  oil  size  in  the  same  manner 
as  for  gilding.  (See  Oilding.')  This  kind  of  painting  is 
now  called  “ distemper  painting.”  By  many  persons  un- 
acquainted with  the  process  of  painting,  distemper  is 
regarded  as  identical  with  fresco  painting.  The  difference 
is  that  distemper  is  painted  on  a dry  surface;  fresco^  on  wet 
mortar  or  plaster.  A bowl  should  be  had  for  each  color, 
likewise  a brush.  The  tints  should  appear  a little  darker 
when  mixed  than  what  you  want  them  to  be,  as  they 
dry  lighter:  wash  the  brushes  in  warm  water  when  you 
wish  to  clean  them. 

If  the  designs  require  to  be  painted  in  oil,  the  can- 
vas is  prepared  with  the  parchment  size  in  the  same 
way;  then  coat  over  twice  with  oil  paint,  white,  then 
a pearly  white.  When  dry,  proceed  as  with  an  oil 
painting. 

It  should  be  remembered,  in  all  paintings  of  this  char- 
acter, that  fine  and  delicate  touchings  are  not  necessary; 
indeed  they  are  not  suitable  in  any  way,  as  they  detract 
from  the  boldness  of  the  picture,  deadening  the  sharp- 
ness of  outlines,  and  giving  a tame  effect  to  the  whole 
painting.  These  pictures  are  intended  to  be  looked  at 
from  a distance,  and  consequently  the  lines  must  be  bold, 


408  PANORAMA,  MAP,  AND  SCENE  PAINTING. 

and  the  contrasts  of  light  and  shade  very  apparent.  To 
obtain  these  absolutely  indispensable  requisites  requires 
practice;  and  the  pupil  will  notice  that  those  parts  which 
look  harsh  and  coarse  when  closely  examined,  are  the 
very  portions  which  give  character  to  the  picture  when 
viewed  from  an  appropriate  distance.  Ail  panorama  and 
scene  painting  is  based  on  this  principle.  These  remarks 
are  equally  applicable  to  any  object  wliich  is  to  be  placed 
at  a distance  from,  or  elevated  above,  the  beholder. 


TO  TRANSFER  ENGRAVINGS  TO  WOOD. 


409 


TO  TRANSFER  ENGRAVINGS  TO  WOOD. 

Dissolve  salt  in  soft  water ; float  your  engraving  on 
the  surface,  picture  side  up ; let  it  remain  about  one 
hour.  Your  screen,  box,  or  table  should  be  of  bird’s- 
eye  maple,  or  other  light-colored  hard  wood  ; varnish 
with  best  copal  or  transfer  varnish. 

Take  the  picture  from  the  water,  dry  a little  between 
linen  rags  ; then  put  the  engraving,  picture  side  down, 
on  the  varnished  wood,  and  smooth  it  nicely.  If  the 
picture  entirely  covers  the  wood  after  the  margin  is  cut 
off,  so  that  no  varnish  be  exposed,  lay  over  it  a thin 
board  and  heavy  weight ; leave  it  thus  in  press  over 
night.  If  you  wish  but  a small  picture  in  the  center 
of  your  wood,  apply  the  varnish  only  to  a space  the 
size  of  your  picture.  Dip  your  fore  finger  ia  salt  and 
water,  and  commence  rubbing  off  the  paper ; the  nearer 
you  come  to  the  engraving,  the  more  careful  you  must 
be,  as  a hole  would  spoil  your  work.  Rub  slowly  and 
patiently,  till  you  have  taken  off  every  bit  of  the  paper, 
and  left  only  the  black  lines  and  touches  of  your  picture 
on  the  wood,  in  an  inverted  direction.  Finish  up  with 
two  or  three  coats  of  copal  varnish. 


410 


ANGLO-JAPANESE  WORK. 


ANGLO-JAPANESE  WORK. 

“ This  is  an  elegant  and  easy  domestic  art.  Take 
yellow  withered  leaves,  dissolve  gum,  get  mixed  black 
paint  and  some  copal  varnish,  etc.  Any  articles  may  be 
ornamented  with  these  simple  materials  — an  old  work- 
box,  tea-caddy,  fire  screen,  flower  pots,  etc.  Select  per- 
fect leaves,  dry  and  press  them  between  the  leaves  of 
books,  rub  the  surface  of  the  article  to  be  ornamented 
with  flne  sand  paper,  then  give  it  a coat  of  fine  black 
paint,  which  should  be  procured  mixed  at  a color  shop. 
When  dry,  rub  smooth  with  pumice  stone  ; then  apply 
two  other  coats.  Dry  ; arrange  leaves  in  any  manner 
and  variety,  according  to  taste.  Gum  the  leaves  on  the 
under  side,  and  press  them  upon  their  places.  Then 
dissolve  some  isinglass  in  hot  water,  and  brush  it  over 
the  work  while  the  solution  is  warm  ; when  dry,  give 
three  coats  of  copal  varnish,  allowing  ample  time  for 
each  coat  to  dry.  Articles  thus  ornamented  last  for 
years,  and  are  very  pleasing.” 


SEALING  WAX. 


411 


SEALING  WAX  TO  IMITATE  CORAL. 

ELT  sealing  wax  of  the  de- 
sired color  in  first  proof  al- 
cohol. Spread  thickly  over 
a pasteboard,  basket,  plate, 
or  small  waiter.  Stir  rice, 
sago,  and  small  bits  of  tap- 
ioca, into  the  vessel  of  dis- 
solved sealing-wax  ; spread 
the  same  over  the  basket,  etc. ; dry  thoroughly.  This 
is  pretty  for  card  receivers. 

Sealing-wax  Painting.  — Into  twelve  large-mouthed 
bottles,  containing  about  half  a gill  each,  put  as  many 
colors  and  shades  of  sealing  wax.  Pour  over  alcohol, 
best  quality,  sufficient  to  dissolve  the  wax.  Paint 
flowers,  birds,  etc.,  with  the  same  to  imitate  enameled 
painting.  A friend  of  ours,  who  had  much  skill  in 
painting,  received  $60  for  a small  table  painted  in 
this  way. 


412 


CUTTING  OUT  PAPER  ORNAMENTS. 


HOW  TO  CONVERT  BROKEN  CAKE-COLORS 
INTO  MOIST  COLORS. 

Put  the  broken  color  into  a small  cup,  and  cover  with 
W'ater.  Let  it  remain  until  the  color  is  dissolved  or  suffi- 
ciently softened  ; then  get  it  out  and  place  it  upon  a porce- 
lain palette  or  clean  plate.  Add  about  one-third  of  its 
original  bulk  of  honey  to  it ; mix  it  well  with  a small 
palette-knife,  and  put  it  in  one  of  the  porcelain  pans : 
when  the  water  moisture  has  evaporated,  it  is  ready  for 
use. 


DIRECTIONS  FOR  CUTTING  OUT  PAPER 
ORNAMENTS. 

Procure  several  tints  of  tissue-paper  of  delicate  colors, 
such  as  pink,  blue,  green,  yellow,  and  white.  Decide 
upon  the  size  and  shape  you  wish  your  subject,  whether 
round,  square,  or  oval. 

For  example  : We  will  suppose  it  to  be  a circle  the  size 
of  an  ordinary  plate.  Draw  out  your  circle  with  com- 
passess,  or  from  your  plate,  upon  the  tissue-paper. 


CUTTING  OUT  PAPER  ORNAMENTS. 


413 


Double  it  over  and  over  four  times,  in  such  a way  as  to 
make  your  paper  assume  the  shape  of  a cone  one-eighth 
of  a circle.  Now  cut  a piece  of  white  letter-paper 
exactly  the  same  size  as  one-eighth  of  a circle,  and  upon 
it  draw  a single  design  with  pen  and  ink,  observing  that 
each  figure  should  be  separate.  When  complete,  place  it 
carefully  inside  the  first  division  of  your  folded  paper. 
You  can  now  trace  the  pattern  with  lead-pencil  on  the 
tissue-paper.  That  being  done,  remove  your  original 
pattern,  and  commence  cutting  out  the  parts  you  have 
marked  with  a pair  of  embroidery  scissors.  When  you 
have  cut  them  all  out,  unfold  your  paper,  and  you  will 
have  your  pattern  repeated  eight  times  ; and,  when  done 
neatly,  it  has  a pleasing  appearance.  If  it  is  not  all  you 
desire,  try  again.  A few  trials  will  make  you  perfect. 

The  paper  ornament,  when  finished,  may  be  used  as  a 
mat-stand,  scent-bottle,  or  pincushion,  or  to  place  upon 
a dessert  plate. 

This  style  of  paper-cutting  may  be  used  for  many  pur- 
poses that  your  own  ingenuity  may  suggest. 


414  DIRECTIONS  FOR  BRONZE  STENCILLING. 


DIRECTIONS  FOR  BRONZE  STENCILLING. 

Procure  papers  of  three  or  four  different  kinds  of 
bronzes,  — white,  gold,  copper,  and  salmon.  A bottle  of 
gold-size,  a flat  camel’s-hair  brush,  penknife,  and  a flat 
piece  of  tin  six  or  eight  inches  square.  Make  a rubber 
of  a bit  of  soft  leather,  with  soft  cotton  inside.  Tie  it 
with  thread,  so  as  to  keep  it  in  shape; 

Draw  the  subject  you  want  on  thin,  strong  writing- 
paper.  Whether  flowers,  figures,  houses,  letters,  or 
scroll  ornament,  place  the  paper  with  your  drawing  on 
the  tin,  and  commence  cutting  out  with  the  point  of  your 
penknife,  leaving  a little  band,  now  and  then,  to  hold 
your  design  together.  With  a little  practice  this  can  be 
done  very  neatly.  Your  design  being  ready,  coat  over 
any  article  you  intend  to  decorate. 

For  an  example,  we  will  take  a little  fancy  table  that 
has  been  varnished  or  coated  with  oil-paint.  Wash  it 
well,  so  as  to  free  it  entirely  from  grease.  When  quite 
dry,  coat  it  over  evenly  with  gold-size  with  the  fiat 
brush.  Allow  it  to  dry  about  twenty  minutes  ; then  get 
all  your  bronze  papers  open  ; place  your  design  on  the 


ENGRAVINGS  OR  PRINTS  UPON  GLASS.  415 


part  coated  with  gold-size.  Charge  your  leather  rubber 
well  with  the  desired  bronze,  and  rub  gently  the  bronze 
on  to  the  stencil.  Great  care  is  requisite  in  rubbing  on 
the  bronze,  or  you  may  break  some  of  the  delicate  bands 
that  hold  together  your  design.  The  bronze  readily 
adheres  to  the  sticky  property  of  the  gold-size. 

If  desirable,  you  can  stain  with  transparent  color  what 
you  have  stencilled.  In  that  case  you  must  allow  it  to 
dry  a few  days,  and  use  the  same  colors  as  directed  in 
Oriental  painting. 


FOR  USING  ORDINARY  ENGRAVINGS  OR 
PRINTS  UPON  GLASS. 

The  engravings  or  prints  used  for  this  purpose  should 
be  on  paper  that  contains  little  or  no  size  ; and  those 
answer  best  that  are  strongly  printed. 

Lay  the  print  flat,  and  damp  with  sponge  and  water 
the  plain  or  imprinted  side.  Apply  a generous  coating 
of  transfer-varnish  on  the  glass.  Place  on  the  print 
face  to  the  glass  ; then  press  with  the  roller,  as  before 
directed  in  the  article  on  diaphanie  ; and,  having  satisfled 
yourself  that  no  air-bubbles  remain  between  the  face  of 


416  IMITATION  OF  INLAYING  WITH  EBONY. 


the  print  and  the  glass,  lay  it  at  some  distance  from  the 
fire  to  dry. 

Damp  the  back  of  the  print  again  with  water,  and 
commence  rubbing  off  the  superfluous  paper.  This  must 
be  done  with  care,  or  the  face  of  the  print  will  be 
injured. 

When  you  have  removed  sufficient  of  the  paper,  and 
allow^ed  the  moisture  to  dry,  apply  with  the  camel’s-hair 
brush  the  clearing-varnish. 

If  you  wish,  you  can  stain  some  of  the  parts  with 
varnish-color,  as  used  in  oriental.  Afterwards  varnish 
all  over  with  copal-varnish. 

IMITATION  OF  INLAYING  WITH  EBONY. 

Procure  any  article  that  is  made  with  holly-wood  or 
any  other  light-colored  wood.  Trace  neatly  with  lead- 
pencil  any  design  you  wish,  and  proceed  to  outline  the 
same  with  your  crow-quill  sable.  Afterwards  fill  in  all 
the  interstices  with  lamp-black. 

The  designs  for  this  style  may  be  as  simple  or  as 
elaborate  as  for  any  style  of  decorating  ; and  any  one 
who  has  a steady  hand  for  outlining  can  accomplish  it. 


IMITATION  OF  INLAYING  WITH  EBONY.  417 


We  will  suppose,  for  example,  that  you  only  want  a 
border  composed  of  ivy-leaves.  Sketch  in  your  pattern 
with  your  crow-quill  brush  charged  with  black.  Vein 
the  leaves,  and  leave  all  the  connecting-stems  white. 
Fill  in  to  the  width  of  your  border  with  black. 

The  same  design  may  be  reversed,  which  is  much 
easier  to  do  for  a border.  In  this  case,  pencil  in  your 
leaves  with  black,  leaving  the  veins  white  ; the  connect- 
ing-stems do  with  black.  Make  your  black  smooth  and 
solid,  even  if  you  have  to  go  over  two  or  three  times. 

Chinese  designs,  with  figures,  buildings,  birds,  trees, 
flowers,  &c.,  look  very  well  in  this  style,  on  small  tables, 
folio,  and  book-covers  ; indeed,  this  style  can  be  applied 
to  advantage  on  any  article  that  is  made  in  light-colored 
wood.  I once  saw  a complete  toilet-set  ornamented  in 
this  style,  chairs  and  bed  included. 

The  articles  required  are  a pan  of  lamp-black;  two 
sable  brushes, — one  a crow-quill  sable,  with  the  hairs 
five-eighths  of  an  inch  long;  the  other  a duck  or  goose- 
quill,  according  to  the  spaces  you  have  to  fill  in. 

After  finishing  your  design,  if  the  article  is  one  that 
will  be  handled  much,  it  is  better  to  give  it  a coat  or  two 


418  DIRECTIONS  FOR  CLEANING  BRUSHES. 

of  copal-varnish.  If  two,  allow  the  first  coat  to  dry  a 
couple  of  days  before  applying  the  second. 

The  reason  for  varnishing  is,  the  lamp-black  is  water- 
color  ; and,  if  any  moisture  gets  upon  it,  it  would  smear 
and  spoil  the  effect  of  your  work. 

If  you  are  an  oriental-painter,  and  have  the  requisites 
for  that  style,  you  can  use  your  lamp-black  mixed  with 
varnish,  in  place  of  using  water-color. 

To  those  who  have  painted  papier-mache,  and  are 
familiar  with  varnishing,  if  they  wish  they  may  put  an 
extra  finish  upon  their  work  by  giving  it  two  coats  of 
varnish  as  before  directed,  and  then  following  the  direc- 
tions for  polishing  as  mentioned  on  page  202. 


' DIRECTIONS  FOR  CLEANING  BRUSHES. 

Always  leave  your  brushes  clean.  For  water-color 
brushes,  Indian-ink,  and  sepia,  wash  them  in  clean 
water. 

Brushes  that  are  used  in  alcoholic  varnishes,  such  as 
spirit-sandarac,  cabinet,  varnish  for  pearling,  preserving- 
varnish,  and  Grecian  varnish,  should  be  w^ashed  in 
alcohol. 


IMITATION  OF  GROUND  GLASS. 


419 


All  brushes  used  iu  oil  painting,  oriental  and  papier- 
mache,  and  turpentine  varnishes,  such  as  transfer-var- 
nish, antique  varnish,  mastic,  and  copal,  should  be 
washed  in  turpentine,  and  afterwards  with  soap  and  warm 
water.  Attention  to  this,  and  your  brushes  will  always 
be  in  working  order,  and  will  last  a long  time  ; but  if 
neglected,  and  the  color  or  varnish  is  allowed  to  remain 
in,  they  soon  spoil  and  get  ruined. 

IMITATION  OF  GROUND  GLASS. 

Take  one  part  of  flake-white  ; add  two  parts  of  sugar 
of  lead  ; mix  with  equal  parts  of  oil  and  turpentine. 
The  color  must  be  used  thin,  and  applied  with  a paint- 
ing-brush of  moderate  size.  Then,  with  a painter’s 
duster  or  badger,  clean  and  free  from  dust.  Commence 
gently  dabbing  the  glass  with  the  ends  of  the  hair  until 
your  work  acquires  uniformity  of  appearance.  This  will 
wear  a considerable  time,  and  it  may  be  washed  with 
weak  soap  and  water  if  necessary ; but,  should  you 
require  to  repaint  it,  the  first  may  be  removed  with  very 
little  labor  by  applying  with  a sponge  a solution  of  pot- 
ash. 


420 


GRECIAN  VARNISH. 


Another  method,  more  simple  : Get  some  putty  ; pre- 
pare it  in  a round  ball,  and  dab  over  your  glass  evenly  ; 
let  it  dry  a couple  of  days,  then  repeat  it.  If  evenly 
done,  it  looks  well,  and  answers  every  purpose  for  which 
ground  glass  is  used.  If  you  should  require  to  remove 
it,  it  may  be  done  with  very  little  trouble,  by  applying, 
with  a piece  of  sponge  or  cotton,  oil  of  tartar,  or  solution 
of  potash. 


MISCELLANEOUS  RECEIPTS. 


421 


TRACING  PAPER 


jET  a sheet  of  fine  tissue  paper,  and  rub  it  all  over  thinly 
with  clarified  linseed  oil,  when  it  will  be  quite  trans- 
parent ; hang  it  up  to  dry  ; it  takes  some  time  to  dry, 
but  it  must  be  allowed  to  dry  thoroughly  before  using 
it,  or  it  may  spoil  the  picture  or  engraving  you  trace 
from.  With  this  kind  of  tracing  paper,  being  trans- 
parent, you  have  merely  to  place  it  over  pictures  or 
engravings,  and  with  a lead  pencil  mark  over  your  drawing  with 
a steady  hand. 


SPIRIT  SANDARAC  VARNISH. 

Six  ounces  of  pulverized  sandarac,  two  ounces  of  pulverized 
shellac,  four  ounces  of  pulverized  resin,  four  of  turpentine, 
thirty-two  ounces  of  alcohol ; let  the  vessel  you  make  it  in  be 
surrounded  with  warm  water,  gradually  made  hot ; when  all  the 
gums  are  dissolved,  strain,  and  in  a few  days  it  will  be  ready  for 
use.  Good  for  varnishing  any  thing  that  is  wanted  to  dry  quickly. 


TRANSFER  VARNISH. 

To  six  ounces  of  fir  balsam  add  twelve  of  rectified  spirits  of  tur- 
pentine ; shake  well  together  ; strain  if  requisite,  and  it  is  ready  for 
use.  Good  for  transferring  engravings,  and  holds  the  ink  firmlv  ; 
is  sometimes  used  for  varnishing  maps,  engravings,  etc. 


422 


MISCELLANEOUS  RECEIPTS. 


MASTIC  VARNISH. 

Dissolve  (without  heat)  six  ounces  of  bruised  mastic  in  twelve 
ounces  of  rectified  spirits  of  turpentine ; when  dissolved,  strain  it 
into  another  bottle,  cork  it,  and  place  it  where  the  sun  will  strike. 
After  a time  there  will  be  a precipitate  ; then  put  it  in  another  bot- 
tle clear.  This  is  a good  varnish  for  maps  and  engravings. 

Another.  — Six  ounces  of  95  per  cent,  alcohol ; six  ounces  of 
mastic ; fourteen  of  turpentine.  Likewise  good  for  engravings, 
maps,  etc. 

HOW  TO  MAKE  TRANSFER  PAPER. 

Take  any  opaque  color,  and  mix  it  with  a very  weak  solution  of 
gum  water.  The  opaque  colors  best  for  this  purpose  are  Indian  red, 
yellow  ocher,  chrome  yellow,  and  white.  When  mixed,  coat  it  over 
thin  drawing  paper,  with  a flat  brush ; when  dry,  it  is  ready  for 
use.  It  is  very  serviceable  to  transfer  your  sketch  made  on  the 
tracing  paper ; for  oil  pictures,  for  instance,  when  you  have  made 
your  sketch  on  the  transparent  tracing  paper,  place  your  transfer 
paper,  the  color  side  to  face  the  canvas,  fit  on  your  trace,  and  mark 
all  your  drawing  with  a bone  tracer,  or  with  the  point  of  your 
sharpened  pencil  stick,  when  a very  legible  outline  will  be  trans- 
ferred to  the  canvas,  of  whatever  color  your  transfer  paper  is. 
Of  course  you  will  choose  a color  that  will  show  ; chrome  or 
yellow  ocher  shows  quite  sufficiently  on  light-colored  canvas. 
After  removing  your  paper,  it  is  well  to  mark  over  on  your  can- 
vas with  lead  pencil. 

In  making  the  transfer  paper,  be  careful  not  to  put  too  much  gum 
in,  or  the  color  will  not  leave  so  freely  as  is  requisite  for  tracing. 


MISCELLANEOUS  RECEIPTS. 


423 


ANTIQUE  VARNISH. 

This  receipt  has  never  before  been  given,  although  large  sums  have 
repeatedly  been  offered  for  the  secret.  All  other  receipts  are  worth- 
less, and  no  other  preparation  will  stand  the  test  of  time,  as  this 
has  done. 

Take  one  ounce  of  pure  Venice  turpentine;  mix  well  with  two 
ounces  of  pure  spirits  of  turpentine ; warm  in  a large  bottle.  In 
another  bottle  put  four  ounces  of  best  fir  balsam,  (it  must  be  pure,) 
with  two  ounces  of  95  per  cent,  alcohol ; shake  well  each  bottle 
Trequently  to/  six  hours  or  more,  then  mix  both  preparations  in  the 
targe  bottle.  The  whole  should  stand  several  days  before  using,  in 
a warm  place. 

CABINET  VARNISH. 

To  one  galloij  of  alcohol  add  six  ounces  of  gum  sandarac,  three 
ounces  of  gum  mastic,  one  half  ounce  turpentine  varnish  ; put  all 
in  a tin  can,  and  in  a warm  place,  occasionally  shaking.  Twelve 
days  or  so  will  dissolve  the  gums.  Strain,  and  it  is  ready  for 
use.  This  varnish  is  good  for  any  sort  of  wood  work,  violins,  etc. 

TURPENTINE  VARNISH. 

To  one  gallon  of  oil  of  turpentine  add  five  pounds  of  powdered 
resin  ; boil  for  thirty  minutes ; strain  it ; when  cold,  it  is  fit  for  use. 

PAPIER  MACHE  VARNISH  FOR  PEARLING. 

Take  one  quart  of  the  spirit  sandarac  varnish,  mix  in  three 
ounces  of  lampblack,  and  one  ounce  of  Prussian  blue  ; blend  them 
together,  and  it  is  ready  for  use. 


424  - 


MISCELLANEOUS  RECEIPTS. 


TO  VARNISH  COLORED  ENGRAVINGS,  CHARTS, 
MAPS,  ETC. 

Make  a frame  stiff  and  strong,  similar  to  those  used  for  canvas 
in  oil  painting,  except  it  better  be  secured  at  the  corners.  Then 
procure  cotton  cloth  two  inches  larger  than  the  frame  all  round ; 
this  paste  well  on  one  side  with  strong  binder’s  paste ; also  paste 
the  picture  or  map,  which  should  lay  a few  minutes  to  become 
moist  throughout,  and  place  the  pasted  sides  together,  (the  cloth 
and  paper,)  and  rub  with  a bone  folder,  commencing  at  the  middle, 
out  to  the  corners,  that  it  may  not  wrinkle.  The  assistance  of  a 
second  person  would  be  desirable  to  hold  up  the  corners  until 
you  are  prepared  to  smooth  as  directed.  Before  this  is  dry,  tack 
with  lace  tacks  to  the  frame  evenly ; when  it  dries  it  will  become 
very  tight  and  smooth. 

After  the  whole  is  thoroughly  dry,  take  a piece  of  isinglass,  say 
three  inches  square,  break  in  small  pieces  and  pour  on  hot  water, 
about  a small  cup  full,  and  keep  it  hot  till  the  isinglass  is  all  dis- 
solved, and  while  the  solution  is  warm,  with  a flat  camel’s  hair 
brush,  coat  the  face  of  your  picture  evenly,  avoiding  as  far  as  pos- 
sible touching  a second  time  (particularly  if  it  is  colored)  till  the 
first  is  dry.  Be  sure  that  every  part  has  received  a portion  of  the 
size.  When  dry  varnish  with  Outside,  or  Elastic  varnish. 

RECEIPT  FOR  MAKING  GOLD  SIZE. 

Take  one  pint  of  boiled  oil,  and  three  quarters  of  a pound  of 
litharge ; boil  them  together  for  three  hours,  occasionally  stirring 
it  up  ; when  cold,  let  it  settle  for  a few  days,  pour  off  the  clear 
liquid,  and  it  is  ready  for  use. 


MISCELLANEOUS  RECEIPTS. 


425 


TO  STRETCH  ENGRAVINGS  FOR  FRAMING. 

Prepare  them  as  already  directed.  Pictures  much  soiled  may 
be  washed  in  clean  water,  and  with  blotting  or  other  porous 
paper  the  superfluous  water  absorbs  the  dirt ; they  may  be  then 
stretched,  and  be  made  to  look  as  smooth  and  fresh  as  new. 


TO  CLEANSE  CABINET  WORK. 

An  excellent  method  is,  in  the  first  place,  to  saturate  the  surface 
with  pure  olive  oil,  and  then  apply  a solution  made  by  dissolving 
gum  arabic  in  boiling  alcohol.  This  will  give  to  the  furniture  a 
most  brilliant  appearance. 

Another  mode  is  to  dissolve  a pound  and  a half  of  potash  in  a 
gallon  of  hot  water ; then  add  a pound  of  virgin  wax,  and  after 
boiling  it  for  half  an  hour,  allow  it  to  cool,  and  the  wax  will  rise 
to  the  surface.  Put  the  wax  into  a mortar,  and  work  it  with  a 
marble  pestle,  adding  soft  water  until  it  becomes  of  the  consistency 
of  soft  paste.  Lay  this  on  the  furniture,  and  rub  it  carefully,  when 
dry,  with  a w’oolen  rag,  and  a beautiful  brilliancy  is  soon  ob- 
tained. 

SPATTER  WORK. 

Select  the  pattern  of  leaves,  ferns,  or  other  design,  according  to 
fancy,  and  affix  to  the  surface  of  the  material  which  is  used,  by 
means  of  fine  needles  thickly  placed,  and  closely  securing  every 
part  of  the  pattern,  so  that  the  edges  leave  no  space  between  the 
pattern  and  the  material.  Mix  India-ink  with  water  in  a thin 
paste.  Dip  a tooth-brush  in  the  mixture,  and,  holding  the  satu- 
rated brush  over  the  work,  quickly  draw  the  teeth  of  a fine  comb 
over  the  brush,  repeating  the  operation  until  the  surface  is  com- 


420 


MISCELLANEOUS  RECEIPTS. 


pletely  spattered  as  desired.  When  thoroughly  dry,  remove  the 
pattern;  and  it  will  be  found  in  relief  tastefully  set  off  by  the 
spattering. 

Very  coarse  spatter  is  made  by  using  the  brush  without  drawing 
a comb  across. 

All  kinds  of  holly-wood  ornaments,  tidies,  velvet  cushions,  etc., 
may  be  ornamented  by  spatter  work. 

GRECIAN  VARNISH. 

Take  three  ounces  of  fir-balsam,  two  ounces  of  ninety-five  per  cent, 
alcohol,  and  one  ounce  of  rectified  spirits  of  turpentine.  Shake  well 
together;  strain,  if  requisite,  and  it  is  read}'  for  use. 

CLEAR  VARNISH  SUITABLE  FOR  ENGRAVINGS,  &c 

To  six  ounces  of  fir-balsam  add  twelve  ounces  of  rectified  spirits  of 
turpentine.  Shake  well  together;  strain,  if  requisite,  and  it  is  ready 
for  use. 

f 

PRESERVING-VARNISH. 

To  half  an  ounce  of  shellac  add  one  pint  of  ninety-five  per  cent, 
alcohol.  Let  it  remain  two  days,  occasionally  shaking  it.  Pour  off 
from  the  sediment,  and  it  is  ready  for  use. 


MATEKIALS. 


427 


MATERIALS. 

The  reader  has  been  referred  to  the  chapter  on  materials 
frequently  in  the  foregoing  pages,  as  it  was  originally  the 
intention  of  the  editor  to  give  full  lists  of  all  articles,  (with 
prices),  required  for  doing  the  different  kinds  of  work 
described  and  taught  by  ns,  but  it  has  been  found  that 
changes,  both  in  prices  and  materials,  are  so  frequent 
that  a price-list  made  for  to-day  may  be  far  from  correct 
in  a less  time  even  than  six  months.  For  this  reason, 
instead  of  giving  a general  price  list  here  we  would 
suggest  that  the  reader  send  directly  to  Messrs.  S.  W. 
Tilton  & Co.,  Boston,,  for  pricelists,  and  late  information 
on  such  subjects  as  they  may  be  interested  in.  All  such 
communications,  inclosing  a stamp  for  reply,  will  receive 
prompt  attention. 

As  success  in  tlie  practice  of  the  instructions  which  we 
have  given  will  largely  depend  upon  the  materials  used, 
the  publishers  of  this  book  have  made  a careful  study  of 
the  subject,  both  as  to  quality  and  prices.  And  while,  as 
a general  rule,  the  best  results  will  follow  the  employment 


428 


MATERIALS. 


of  the  best  materials,  it  does  not  always  follow  that  it  will 
be  necessary  in  all  cases  to  begin  with  the  highest  cost 
implements,  especially  when  less  expensive  articles  may 
be  had  which  will  answer  every  purpose  while  one  is 
learning. 

For  instance,  take  water-color  painting:  the  ten  colors 
contained  in  Tilton’s  Decorative  Art  Box,  separately  and 
by  mixing  will  produce  any  color  required,  and  may  be 
had  for  fifty  cents,  while  the  colors  usually  recommended 
by  teachers  would  cost  from  three  to  five  dollars. 

In  comparison  of  work  done  from  these  two  boxes  it 
would  require  an  unusuall}^  skilful  expert  to  determine* 
which  were  the  better,  and  for  this  reason  we  can  safely 
recommend  Tilton’s  Decorative  Art  Box  to  all  beginners. 

The  same  principle  will  aj^ply  to  brushes.  A good 
sable  brush  is  undoubtedly  the  best  for  water-colors,  but 
as  a number  seven  sable  brush,  (a  very  good  size  for  a 
beginner)  will  cost  $1.60,  and  a camel’s-hair  brush  twenty- 
five  cents  for  the  same  size,  the  latter  will  answer  the 
purpose  for  a beginner  quite  as  well  as  the  more  expensive 
article.  After  one  becomes  skilful  with  brush  and  colors, 
he  will  find  a certain  satisfaction  in  using  the  best  and 
highest  cost  articles  which  can  be  obtained. 


MATERIALS. 


429 


On  the  Selection  of  Colors.  If  an  art  student 
should  procure  from  a dozen  different  teachers  or  artists 
a list  of  the  best  colors  for  a beginner,  he  would  probably 
find  upon  examination  that  no  two  lists  would  be  precise!}^ 
the  same.  This  frequently  is  a puzzle,  the  solution  of  which 
is,  there  are  many  methods  for  producing  the  same  re- 
sults — and  if  these  twelve  artists  or  teachers  who  have 
given  lists  understand  their  profession,  each  one  of 
them  will  pi-obably  be  able  to  produce  the  same  re- 
sult from  his  list  that  the  others  will  from  theirs.  All 
colors  are  produced  from  a union  of  blue,  red,  and 
yellow  in  different  proportions;  and  if  these  three  colors 
could  be  obtained  pure  the  artist  would  require  no  others. 
But  as  this  is  not  the  case,  other  colors  must  be  employed  — 
this  is  all  explained  at  length  in  “Artist  Colors,  and  How 
to  Mix  Them.”  In  the  face  of  evidence  which  proves  so 
many  different  methods  for  producing  comparatively  the 
same  result,  we  will  not  claim  that  the  lists  which  v/e  offer 
are  absolutely  the  best.  We  only  claim  that  the  colors 
which  we  have  offered  are  more  generally  used  than  any 
others.  This  we  have  learned  by  collecting  many  lists 
from  artists  both  in  this  country  and  England  and  compar- 
ing them.  In  this  way,  we  have  found  that  a certain  pro- 


430 


MATERIALS. 


portion  of  the  colors  in  our  lists  are  used  by  all,  others  by 
nine  out  of  every  ten,  and  so  on.  If  the  reader  will  make 
water-colors  the  basis  of  his  study,  as  we  have  recom- 
mended, we  would  advise  his  trying  all  of  the  colors, 
which  he  may  do  at  comparatively  slight  expense  if  he 
uses  the  grade  suggested  for  beginners  — and  then  use 
those  colors  from  which  he  can  obtain  the  most  satisfactory 
results.  All  will  not  arrive  at  the  same  conclusion.  Some 
will  do  better  with  one  list,  others  with  another.  (See 
page  99  for  our  list  of  ten  water-colors,  as  well  as  for  a 
list  of  all  the  colors  of  this  grade.)  These  colors  are 
nearly  all  transparent,  and  while  this  is  desirable  for 
producing  certain  effects  in  water-color  painting,  it  would 
not  be  desirable  in  Oil  Colors,  for  which  a different  list 
will  be  required;  for  instance,  gamboge,  which  is  one  of 
the  most  valuable  colors  for  water,  is  scarcely  used  at  all 
as  an  oil  color. 

What  we  have  said  on  the  selection  of  water  colors, 
will  apply  equally  well  to  oils.  In  this  case,  of  the  list 
of  ten,  the  first  eight  are  used  by  nearly  all  artists,  the 
other  two,  Chrome  Yellow  and  Crimson  Lake,  are  not 
so  generally  used  and  are  given  on  the  ground  of  economy, 
as  they  will  cost  only  about  a quarter  as  much  as  Madder 


MATERIALS. 


431 


Lake  and  Cadmium,  which  are  the  better  colors;  these  last 
two  are  only  better  because  they  will  be  permanent  — that 
is,  retain  their  color  while  Chrome  Yellow  and  Crimson 
Lake  are  not  permanent,  but  will  change  and  perhaps  dis- 
appear. To  a beginner  in  Oil  painting  who  is  practising 
for  immediate  results  rather  than  posterity,  this  will 
not  be  a matter  of  great  consequence,  but  if  he  prefers  to 
have  the  better  colors  he  may  do  so  by  paying  the  dif- 
ference in  price.  * 

Cobalt  is  also  a color  found  on  the  palettes  of  nearly 
every  artist,  but  as  it  is  an  expensive  color  and  not  abso- 
lutely necessary,  we  have  not  included  it  on  our  lists.  It  is 
not  used  in  place  of  Permanent  Blue,  but  in  connection 
with  it.  Permanent  Blue  mixed  with  Emerald  Green  will 
give  a good  imitation  of  Cobalt. 

One  set  of  Oil  colors  will  answer  for  every  purpose  call- 
ing for  such.  And  the  same  with  water-colors.  Different 
brushes  may,  however,  be  required  for  different  kinds  of 
work. 

The  cheapest  and  most  compact  oil-color  box  offered  b}" 
Messrs.  Tilton  & Co.,  is  their  pocket  sketching-box.  This  is 
a well-made  japanned  tin-box,  containing  a palette,  four 


* Which  will  be  82  cents. 


432 


MATEKIALS. 


bristle  brushes,  a tube  of  drying-oil,  and  the  following  ten 
colors : — 

Flake-White,  Ivory-Black,  Vermilion,  Yellow  Ochre, 
Raw  Sienna,  Burnt  Sienna,  Vandyke  Brown,  Permanent 
Blue,  Chrome  Yellow,  Crimson  Lake,  the  price  of  which 
is  $2.00,  or  if  a Palette  Knife  is  added,  the  price  will  be 


No.  60.  Pocket  Sketching-Box. 


$2.25.  They  also  have  larger  and  higher-priced  boxes,  as 
will  be  seen  by  their  list,  which  will  be  sent  to  any  address 
on  application.  See  cut  of  No.  51,  on  opposite  page.  This 
box  contains  the  above  ten  colors,  and  also  Emerald  Green 
and  light  Red,  six  brushes,  drying  oil,  and  Spirits  of  Tur- 
pentine. The  price  is  $3  with  American  colors  and  $4 
with  English  colors.  These  twelve  colors,  separately  and 
by  mixing,  will  produce  any  color  required.  Directions 
for  mixing  accompany  each  box. 


MATERIALS. 


433 


The  cost  for  materials  required  to  begin  the  study  of  any 
branch  of  decorative  art  work,  if  the  pupil  will  confine 
himself  to  what  is  only  absolutely  necessary,  will  be  slight 
and  within  the  means,  we  think,  of  all  wlio  come  to  this 
book  for  information.  A list  of  the  articles  required  will 
generally  be  found  with  the  instructions  for  doing  the 
work. 


No.  51. 


In  sending  to  Messrs.  Tilton  & Co.  for  materials,  or  in 
buying  goods  bearing  their  name,  the  purchaser  may  rely 
upon  obtaining  articles  especially  adapted  for  the  work 
at  the  most  economical  prices. 


INDEX. 


Acid,  Nitric,  Engraving  by,  77. 

Age  of  Fable,  213. 

Amateur  riiotography,  325. 
Anglo-Japauese  Work,  410. 

Aniline  or  Inijuid  Colors,  159. 
Anticpie  x ainting  on  Glass,  353. 
Antique  Varnish,  423. 

Articles  for  Grecian  Painting,  386. 
Art  Color  Box,  Tilton’s  Becorative, 
97. 

Art  of  DraAving,  1, 

Artists’  Colors  and  How  to  Mix 
them,  113. 

Ash  Trays,  in  Brass  (Repousse),  321. 
Auburn  Hair,  144. 

Backgrounds,  for  China  Painting, 
244,  256. 

Backgrounds,  for  Oil  Painting,  379. 
“ for  Water  Color  Paint- 
ing, 131,  149. 

Birthday  Cards,  Designs  for,  109, 
16,5. 

Black  and  White,  61. 

“ and  White  Drawing  on  Ei’as- 
ing  Paper,  62. 

“ Crayon  Drawing,  51. 

“ Hair,  145. 

“ Ivory,  1.35. 

“ Lamp,  135. 

Blending  tones,  46. 

Blocks,  Paper,  95. 

Blocking  in,  46. 

“ “ Illustrations  of,  47. 

Blue  Cobalt,  131. 

“ French,  131. 

“ Prussian,  131. 

“ Ultramarine,  131. 

Blues,  Shadows  for,  149. 

Board,  Drawing,  101. 

“ Monochromatic,  53. 


Borders  for  Pottery  Decoration,  201- 
206. 

Botanical  Specimens,  to  dry  for 
Preservation,  314. 

Box,  Tilton’s  Decorative  Art  Color, 
97. 

Brass,  Hammered  (Repousse),  315. 
Panels,  322. 

“ Plaques,  321. 

“ Trays,  321. 

Bronze  Painting,  357,  364. 

Bronzing,  363. 

Bronze  Stencilling,  directions  for, 
414. 

Brown,  Madder,  1.34. 

“ Vandyke,  134. 

Brushes,  directions  for  Cleaning, 
418. 

“ for  Oil  Color  Painting,  373. 

“ “ Poonah  Painting,  180. 

“ “ Tapestry  Painting,  195- 

“ “ Velvet  Painting,  180. 

“ “ Water  Color  Painting, 

97. 

Burnt  Sienna,  130. 

“ Umber,  1.34. 

Cabinet  Varnish,  42.3. 

“ Work,  to  Cleanse,  425. 
Cadmium  Yellow,  129. 

Cake  Colors,  Hoav  to  convert  into 
Moist,  412. 

Canvas  for  Tapestry  Painting,  192. 
Cards,  Design,  107. 

“ Birthday,  Designs  for,  109, 
165. 

“ Easter,  100. 

“ New  Year’s,  109. 

Carmine,  132. 

Carmine  and  Indigo  make  Purple, 
132. 


435 


436 


INDEX. 


Carmine  and  Vermilion  for  Dra- 
peries, etc.,  182. 

Charcoal  Drawing,  41. 

“ “ to  Fix,  49. 

“ “ to  Imitate  Li- 

thography, 48. 
Charcoal  Drawing,  to  Faint  in  Oil 
over,  49. 

Charts,  to  Varnish,  424. 

Chasing,  Deep,  323. 

Chestnut  Hair,  144. 

China  Fainting,  233. 

“ “ Backgrounds  for, 

244, 256. 

“ “ Colors  for,  248. 

“ “ “ which  change 

in  Firing,  249. 
“ “ Designs  for,  251, 

253. 

“ “ Mixing  Colors  for, 

249. 

“ “ Tinting  “ “ 

250. 

“ “ Wedgewood’s  De- 

signs for,  251, 253. 
China  Slants  for  Water  Colors,  100. 
Chinese  Raising,  368. 

“ White,  129. 

Chrome  Yellow,  130. 
Chromo-Fhotography,  355. 

Choice  of  Designs  for  Fainting  on 
Silk,  Satin,  Velvet,  etc.,  172. 
Choice  of  Pencil  Brushes,  135. 
Christmas  and  New  Year’s  Cards, 
109. 

Cleaning  Brushes,  418. 

Clear  Varnish  suitable  for  Engrav- 
ings. 426. 

Cloth  Fabrics  and  Draperies,  the 
Painting  of,  145. 

Clouds  in  Oil  Painting,  379. 

“ and  Horizon  (Drawing),  16. 
Cobalt,  1.31. 

Color  Box,  Tilton’s  Decorative  Art, 
97. 

Colored  Engravings,  to  Varnish,  424. 
Colors,  Artists’,  and  How  to  Mix 
them,  113. 

“ Background,  149,  150. 

“ Cake,  how  to  Convert  into 
IMoist,  412. 

“ for  China  Painting.  248. 

“ “ “ “ which  change 

in  Firing,  249. 
“ Tilton’s  Decorative  Art,  99. 

“ for  Hair,  142,  144. 

“ “ Tapestry  Fainting,  193. 


Colors,  Mixing,  for  China  Fainting, 
249. 

“ “ “ Oil  Fainting,  386. 

“ Oil  (Chap,  on  Materials), 
386,  393. 

“ Tinting,  for  China  Fainting, 
250. 

“ Water,  98,  99. 

Colored  Crayon,  52. 

“ “ How  to  Make,  52. 

Complexions,  Fair.  140. 

“ Middling,  141. 

“ Dark,  141. 

Composition  in  Drawing,  26. 

Copper  Plate  Engraving,  77. 

“ Plates,  How  to  Print,  90. 
Cone  Work,  306. 

Constant  White,  129. 

()oral,  to  Imitate,  with  Sealing  Wax, 
411. 

Crape,  to  Paint  on,  186. 

Crayon  Drawing,  50, 

“ “ Method  of  Fixing 

by  Steam,  59. 

“ Black,  51. 

“ Colored,  .55. 

“ Papers,  .52. 

Crayons,  Colored,  Howto  Make,  52. 
Crimson,  148. 

Crimson  Lake,  133, 

Curved  Lines,  Drawing,  5. 

Daguerreotype  Plates,  Tinting,  153. 
Dark  Complexions,  141. 

Decorative  Art  Color  Box  (Tilton’s), 
97. 

Decorative  Art  Colors,  99. 
Decoration,  Pottery,  198,  224. 

Deep  Chasing,  .323. 

Design  Cards  (Tilton’s  Outline),  107. 
Design  for  a Christmas  Card,  108. 

“ ‘‘  Doiley,  71. 

“ “ Watcii  Stand.  260. 

“ of  a Gei’aninm  with  direc- 
tions for  Painting  in 
Water  Colors,  118. 

“ “ Girl  and  Poppies,  with 

directions  for  Paint- 
ing in  Water  Colors, 
112. 

“ “ Girl  Dancing,  with  di- 

rections for  Paint- 
ing in  Water  Colors, 
110. 

“ “ Jonquil  with  direc- 

tions for  I’ainting  in 
Water  Colors,  114. 


INDEX. 


437 


Design  of  a Landscape  with  direc- 
tions for  Painting  in 
Water  Colors,  120. 

“ “ Violet  with  directions 

for  Painting  in 
Water  Colors,  116. 
Designs  for  Birthday  Cards,  109, 165. 
Designs,  Choice  of,  for  Painting  on 
Velvet,  Silk,  Satin,  etc.,  172. 
Designs  in  Outline  with  Directions 
for  Painting  in  \Vater  Colors, 
107-120. 

Designs  for  Borders  in  Pottery  Dec- 
oration, 201-207. 

“ “ China  Painting,  251,253. 

“ “ Panels,  no,  112, 114, 116. 

“ “ Pottery  Decoration,  208. 

Diaphanie,  345. 

Directions  for  Bronze  Stencilling, 
414. 

“ “ Cleaning  Brushes, 

418. 

“ “ Cutting  out  Paper 

Ornaments,  412. 

“ “ Taking  Impressions 

of  Leaves,  313. 

“ Using  Tilton’s  Trans- 
ferring Designs, 
37. 

Distance  and  Foreground,  377-380. 
Distemper  Painting,  407. 

Doiley,  Design  for,  71. 

Door  Panels,  to  Decorate,  404. 
Draperies,  the  Painting  of,  145,399. 
“ Carmine  and  Vermilion 

for,  132. 

Dragging  or  Dry  Touching,  375. 
Drying  Oil,  373. 

Dry  Touching,  375. 

Dyeing  Feathers,  304. 

Drawing  and  Painting  in  Water 
Colors,  Introductory  Lesson  in, 
106. 

Drawing,  the  Art  of,  1,  200. 

“ Black  anil  White  on  Eras- 

ing Paper,  62. 

“ Black  Crayon,  51. 

“ Board,  101. 

“ Calm  and  Agitated  Water, 
16. 

“ Charcoal,  41. 

“ ‘‘  to  lix,  49. 

“ “ to  Imitate  Li- 

thography, 48. 
“ “ to  Paint  over 

with  Oils,  49. 

“ Clouds  and  Horizon,  16. 


Drawing,  Colored  Crayon,  .55. 

“ Composition  in,  126. 

“ Crayon,  50. 

“ “ Method  of  fixing  by 

Steam,  59. 

“ Curved  Lines,  5. 

“ ' Foliage,  33. 

“ for  Pottery  Decoration, 

200. 

“ from  Plaster  Casts,  12. 

“ Horizon  and  Clouds,  16. 

“ Invention  in,  5. 

“ Monochromatic,  53. 

“ on  Fungi,  73. 

“ “ Linen,  Wood,  etc.,  68. 

“ “ Pottery,  200. 

“ “ Ribbon,  72. 

“ “ Satin,  72. 

“ “ Silk.  72. 

“ Paper,  94. 

“ Pencil,  30,  200. 

“ Perspective,  17. 

“ Pins,  102. 

“ Round  Objects,  15. 

“ Rough  Water,  16. 

“ Shadow  Lines,  3. 

“ Straight  Lines,  3. 

“ The  Human  Head,  7. 

“ Tortillon,  44. 

“ To  Enlarge  or  Diminish, 
30. 

“ Avithout  a KnoAvledge  of 

Perspective,  27. 

Easter  Caixls,  109. 

Ebonv,  Imitation  of.  Inlaying  with, 
416. 

Embroidei’y,  Imitation  Pearl  work 
for,  310. 

Emerald  Green,  130. 

Enamel  Painting,  .359. 

Engraving  by  Nitric  Acid,  77. 
Engraving  Copper  Plates,  77. 
Engravings,  to  Stretch  for  Fram- 
ing. 425. 

Engravings,  to  Transfer  to  Glass, 415. 
“ “ Wood, 409. 

“ to  Varnish,  424. 

Erasing  Paper,  to  Draw  on  in  Black 
and  White,  62. 

Etching  on  Fungus,  74. 

“ on  Linen,  70. 

“ Ground,  78. 

“ Materials  for,  78. 

“ or  Engraving  by  Nitric 
Acid,  77. 

Etchings,  How  to  Print  from,  90. 


438 


INDEX, 


Explanation  of  Technical  Terms 
used  in  Oil  Painting,  374. 

Fable,  Age  of,  213. 

Fabrics,  Painting  of,  145. 

Face,  to  Color,  136. 

Fair  Complexion,  140. 

Feather  Flowers,  304. 

Feathers,  Ostrich,  how  to  Restore, 
305. 

“ to  Dye,  304. 

Fire  Screen,  in  Leather,  269. 

Firing,  China  Colors  which  Change 
by,  249. 

Fishes’  Scales,  for  Decorative  work, 
310. 

Fixing  Crayon  Drawings  by  Steam, 
59. 

Flat  Tones,  46. 

“ Wash,  103. 

Flaxen  Hair,  144,  386. 

Flesh  Tints,  136, 140,  394. 

Flower,  Passion,  285. 

Flowers,  Feather,  304. 

“ Hair,  302. 

“ in  Leather,  261. 

“ Paper,  311. 

“ Shell,  307. 

“ Wax,  276. 

Foliage,  Drawing,  33. 

“ in  Oil  Painting,  380. 
Foreground  and  Distance  in  Oil 
Painting,  379. 

Formula  Painting,  182,  183. 

For  Using  Engravings  or  Prints  on 
Glass,  415. 

Frame,  a Stretching,  for  Tapestry 
Painting,  192. 

Frames  in  Brass  (Repousse),  321. 

“ Leather  AVork,  259. 
PTench  Blue,  131. 

Fresco  Painting,  407. 

P"ret,  Greek,  205. 

Ph-uit,  Plaster,  295. 

“ AA^ax,  286. 

Fungi,  Drawing  on,  73. 

“ Etching  on,  74. 

Gamboge,  129. 

Geranium,  Design  of,  with  direc- 
tions for  I’ainting  in  AVater 
Colors,  117,  118. 

Gilding,  165, 197,  370. 

Gilding  on  Satin,  .370. 

Girl  and  Poppies,  Design  of,  with 
directions  for  Painting  in  Water 
Colors,  112. 


Girl  Dancing,  Design  of,  with  direc- 
tions for  Painting  in  Water 
Colors,  110. 

Glass,  Imitation  of  Ground,  419. 

“ Painting  on,  344,  345,  351,  353. 
‘‘  Positives,  Coloidng  and  Var- 
nishing of,  1.55. 

“ Transferring  Prints  and  En- 
gravings to,  415. 

Glazing,  374. 

Glue  or  Parchment  Size,  126. 
Glycerine,  168. 

Gold  Size,  How  to  Make,  424. 
Graded  AVash,  in  AA'ater  Colors,  106. 
Grecian  Painting,  381. 

Grecian  Painting  Applied  to  Photo- 
graphs, 390. 

Grecian  Painting,  Articles  for,  386. 
Grecian  Varnish,  426. 

Green,  129, 149. 

“ Emerald,  130. 

Greek  P"ret,  205. 

“ Ornament,  213. 

“ Abases,  213. 

Ground,  Etching,  78. 

Ground  Glass,  Imitation  of,  419. 

“ “ Painting  on,  344. 

Gum  Arabic,  in  Water  Color  Paint- 
ing, 169. 

Hair  Colors,  142,  144,  386. 

“ Flowers,  302. 

Half-Tones,  Tones,  etc.,  45. 
Hammered  Brass  (Repousse),  315. 
Hand,  a Muscular  Control  of,  3. 
Handling,  375. 

Hints  about  INIap,  Scene,  and  Pano- 
rama Painting,  406. 

Horizon  Lines,  Clouds,  etc.,  16. 
Horn  Paper,  183. 

How  to  convert  Cake  Colors  to 
Moist,  412. 

How  to  Commence  Picture  in  Oil 
Color  Painting,  376. 

How  to  Print  Copper  Plates,  90. 
Human  Head  Drawing,  7. 

Illuminating,  160. 

Illustrations,  Blocking  in,  46. 
Imitation  of  Ground  Glass,  419. 

“ Inlaying  with  Ebony, 

4i6. 

“ Pearl  AVork  for  Em- 

broidery, 310. 

Impression  of  Leaves,  directions 
for,  313. 

Indian  Red,  133. 


INDEX. 


439 


Indian  Yellow,  129. 

Indigo,  132. 

Introductory  Lessons  in  Drawing 
and  Painting  in  Water  Colors, 
106. 

Invention  in  Drawing,  5. 

Isinglass  Size,  363. 

Ivory  Black,  135. 

Japanese,  Anglo,  Work,  410. 
Jonquil,  Design  of,  with  directions 
for  Painting  in  Water  Colors, 
114, 117. 

Lake,  Crimson,  133. 

Lamp  Black,  135. 

Landscape,  Design  of,  with  direc- 
tions for  Painting  in  Water 
Colors,  117. 

Landscape  Drawing  with  Colored 
Crayons,  58. 

Landscape,  in  Oil  Painting,  379. 
Lantern,  Magic,  351. 

Lattice  Work,  204. 

Leaf  Impressions,  directions  for 
Taking,  313. 

Leather  Fire  Screen,  269. 

“ Flowers,  261. 

“ Frames,  259. 

“ to  Paint  on  with  Oil  Colors, 

405. 

“ Work,  257. 

Light  and  Shade,  13. 

“ Management  of,  376. 

“ Bed,  133. 

Linear  Perspective,  3.5. 

Linen,  Etching  on,  70. 

“ to  Draw  on,  70. 

“ to  Paint  on  Avith  Oil  Colors, 
401. 

Liquid  or  Aniline  Colors,  159. 

Stopping  out  Varnish,  78. 
List  of  Water  Colors,  99. 
Lithograjdiy,  to  Imitate,  48. 

Mache,  Papier,  356. 

Madder,  133, 134. 

Magic  Lantern,  351. 

Magic  Lantern  Slides,  Painting,  351. 
Mahl  Stick,  196. 

Making  Negatives,  3.32. 

Management  of  Liglit,  376. 
Mantel[)ieces,  to  Decorate,  404. 
]\Iaps,  Painting,  406. 

“ Varnisliihg,  424. 

INIarble,  Painting  on  with  Water 
Colors,  189. 


Mastic  Varnish,  422. 

Materials,  chapter  on,  427. 

Materials  for  Etching,  78. 

Method  of  fixing  Crayon  Drawings 
by  steam,  59. 

Middling  Complexions,  141. 

Mirror  Frames,  to  Decorate,  404. 
Miscellaneous  Receipts,  421. 

Mixed  Tints  in  Oil,  386,  397,  399. 
Mixing  Colors  for  China  Painting, 
249. 

Mixing  Colors  for  Oil  Painting,  386. 
Monochromatic  Board,  53. 

“ Drawing,  53. 

Moss  Work,  299. 

Mottoes  (see  Illuminating). 
Moulding  in  Plaster,  296.. 

“ in  Wax,  285. 

Moulds  in  Plaster  for  W^ax  Figures, 
296. 

Muslin,  Painting  on  with  Water 
Colors,  166. 

Nature,  Sketching  from,  24. 
Negatives,  Making,  332. 

New  way  of  Painting  on  Rice  Paper, 
343. 

New  Year’s  Cards,  109. 

Nitric  Acid  Engraving,  77. 

Ochre,  Roman,  130. 

Oil  Colors,  .386.  393. 

Oil  Colors,  Painting  Photographs 
in,  393. 

“ Drying,  373. 

“ Painting,  372. 

“ J5ackgrounds,  379. 

“ “ Brushes  for,  373. 

“ “ Distance,  .379. 

“ “ Explanation  of  Tech- 

nical Terms  used 
in,  374. 

“ “ Flesh  Tints,  394. 

“ “ Foliage,  380. 

“ “ Foregrounds,  380. 

“ “ How  to  commence  a 

picture,  376. 

‘‘  “ Landscape,  .379. 

“ “ Mixed  Tints  for,  386. 

“ “ Photographs,  .39.3. 

“ “ Sky  Tints  for,  378, 379, 

399. 

“ “ Trees,  .380. 

“ “ on  Leather,  405. 

“ “ on  Idnen,  401. 

“ “ on  Plush  W^ood,  etc., 

401. 


440 


INDEX. 


Oil  Painting,  on  Silk,  Satin,  etc. ,400. 
Old  Ostrich  Feathers,  how  to  Re- 
store, 305. 

Orange,  149. 

Oriental  Painting,  183,  341. 
Ornament,  Greek,  213. 

Ornaments,  how  to  Cut  Paper  for, 
412. 

Outline  Design  Cards,  109. 

Outline  Designs  for  Water  Color 
Painting,  107-120. 

Oxgall,  158,  1C9. 

Painting,  Antique,  on  Glass,  353. 

“ Background  for  Oil,  379. 

“ Backgrounds  with  Water 

Colors,  131,  149. 

“ Bronze,  3.57,  364. 

“ China,  233. 

“ China,  Background  for, 

244,  256. 

“ Diaphanie,  345. 

“ Distemper,  407. 

“ Draperies,  with  Oil  Colors, 

399. 

“ Draperies,  with  Water 

Colors,  145. 

“ Enamel,  359. 

“ Explanation  of  Technical 

Terms  used  in  Oil,  374. 

“ Elat  Wash,  103. 

“ Flesh  Tints  in  Oil  Colors, 

394. 

“ Flesh  Tints  in  Water 

Colors,  136,  140. 

“ Formula,  182. 

“ Fresco,  407. 

“ Graded  Wash,  106. 

“ Grecian,  Applied  to  Pho- 

tographs, 390. 

“ Gi'ecian  (Oils),  381. 

“ how  to  prepare  wood  for, 

367. 

“ Illumination,  160. 

“ Landscape,  with  Oil  Col- 

ors, .379. 

“ Landscape  with  Water 

Colors,  117. 

“ Magic  Lantern  Slides,  351 . 

“ Mantelpieces,  404. 

“ Maps,  406. 

“ Scene  and  Panorama, 

lliiits  about,  401. 

“ on  China,  2.33. 

“ on  Cloth  Fabrics,  145. 

“ on  Crape,  186. 

“ on  Door  Panels,  404. 


Painting,  on  Glass,  344,  345,  351,  353. 

“ on  Leather  with  Oil  Col- 
ors, 405. 

“ on  Linen  with  Oil  Colors, 
401. 

“ on  Marble  with  Water 

Colors,  189. 

“ on  Muslin  tvith  Water 

Colors,  178. 

“ on  Plush  with  Oil  Colors, 
401. 

“ on  Plush  with  Water  Col- 
ors, 183. 

“ on  Pottery,  218,  224. 

“ on  Rice  Paper,  343. 

“ on  Silk,  Satin,  etc.,  with 

Oil  Colors,  400. 

“ on  Silk,  Satin,  etc.,  with 
Water  Colors,  166,  173. 

“ on  Tapestry,  190. 

“ on  Vellum,  164. 

“ on  Velvet,  Brushes  for, 

180. 

“ on  Velvet  with  Water  Col- 

ors, 179. 

“ on  Wood  with  Oil  Colors, 

401. 

“ on  Wood  with  Water 

Colors,  186, 187. 

“ Oriental,  341. 

“ Panorama,  406. 

“ Papier  IMache,  356. 

“ Photographs,  Avith  Oil 

Colors,  393. 

“ Photographs  with  Water 

Colors,  122,  156. 

“ Poonah,  183. 

“ Scene,  406. 

“ Sealing  Wax  to  Imitate 

Coral,  411. 

“ Tapestry,  190. 

“ “ Colors  for,  193. 

“ Theorem,  183. 

“ Tilton’s  Outline  Designs, 

109. 

“ Varnish,  342,  344,  351,  357. 

“ Avith  Oil  Colors,  372. 

“ Avith  Water  Colors,  93. 

Panel  Designs,  110,  112,  114,  116. 

Panels,  Brass,  322. 

“ Door,  to  Decorate,  404. 

“ for  Water  Color  Painting, 
109 

“ over  a Mirror,  to  Decorate, 
404. 

Panorama  Painting,  406. 

Paper  Blocks,  95. 


INDEX. 


441 


Paper  Crayon,  52. 

“ Drawing,  94. 

“ Erasing,  for  Drawing  in  Black 
and  White,  62. 

“ Flowers,  311. 

“ for  Water  Color  Painting, 
94. 

“ Horn,  183. 

“ (Ornaments,  How  to  Cut  Out, 
412. 

“ Stretching,  95. 

“ Tracing,  421. 

“ Transfer,  422. 

*■  Whatman,  111. 

Papier  Mache,  356. 

“ “ Varnish,  423. 

Parchment  Size,  126. 

Passion  Flower,  283-285. 

Pastiles,  52. 

Pearl  Imitation  Work  for  Embroid- 
ery, 310. 

Peaiding,  369. 

Pencil  Brushes,  Choice  of,  135. 
Pencil  Drawing,  30,  200. 

Perspective  Drawing,  17. 
Perspective,  Linear,  35. 

Photograph  Painting  with  Oil  Col- 
ors, 393. 

“ Painting  with  Water- 

Colors,  119-122. 

“ Size,  126. 

“ Tinting  with  Water- 

Colors,  156. 

Photographs,  Greciair  Paiirting  Ap- 
plied to,  390. 

Photography,  Amaterrr,  325. 

‘-  Chrorno,  355. 

Pink,  148. 

Pirrs,  Drawing,  102. 

Plaques,  Brass,  -321. 

Plaster-  Casts,  to  Draw  from,  12. 
Plaster-  Fruit.  295. 

“ Morrlds,  297. 

“ “ for  Wax  Figures,  296. 

“ Moulding  in,  296. 

“ Work,  295. 

Platform  for  Pottery  Decoratiorr, 
200. 

Plush,  Wood,  etc..  Oil  Painting  on. 
401. 

Point  of  Sight,  19,  20.- 
“ Vanishing,  20. 

Poonah  Painting,  183. 

Poonah  Painting,  Brushes  for,  184. 
Positives,  Coloring  and  Varnishing 
of  Glass,  155. 

Pottery  Decoration,  198,224. 


Pottery  Decoration,  Borders  for, 201, 
206. 

“ “ Designs  for,  208. 

“ “ Drawing  for, 200. 

“ Preparation  of,  for  Decora- 

tion, 215. 

“ Selection  of,  214. 

Prepared  Oxgall,  158,  169. 

Preparing  Paper  for  Water  Color 
Painti;ig,  95. 

Preservation,  Botanical  Specimens, 
to  Dry  for,  314. 

Preserving  Varnish,  426. 

Prints  or  Engravings  to  Transfer  to 
glass,  415. 

Prussian  Blue,  131. 

Purple,  149. 

Purple,  Carmine  and  Indigo  IMake, 

Raising,  Chinese,  368. 

Receipt  for  Gold  Size,  424. 

“ “ Parchment  Size,  126. 

Receipts,  Miscellaneous,  421. 

Red  Hair,  144. 

“ Indian,  133. 

“ Light,  133. 

“ Venetian,  133. 

Repousse  (Hammered  Brass),  315. 
Ribbon,  Drawing  on,  72. 

Rice  Paper,  to  Paint  on,  343. 

Roman  Ochre,  130. 

Rose  Mad<ler,  133. 

Round  Objects,  to  Represent,  15. 
Rubbing  Out,  42. 

Sachets  or  Scent  Bags,  109. 

Sandrac  Spirit  Varnish,  421. 

Satin,  Choice  of  Designs  for,  172. 

“ Drawing  on,  72. 

“ Gilding  on,  370. 

“ to  Paint  on  with  Oil  Colors, 
400. 

“ to  Paint  on  Avith  MTiter  Col- 
ors, 166,  177. 

Scales,  Fishes  for  Decorative  Work, 
310. 

Scarlet.  148. 

Scene  Painting,  406. 

Screen.  Fire,  in  Leather,  269. 
Scumbling,  375. 

Sea  Weed,  .300. 

Sealing  Wax  Painting,  411. 

“ “ to  Imitate  Coral,  411. 

Seed  Work,  309. 

Selection  of  Pottery  for  Decoration. 
214. 


442 


INDEX. 


Sepia,  134. 

Shade,  Light  and,  13. 

Shading,  14. 

Shadows  for  Blues,  149. 

“ “ Yellows,  148. 

Shell  Flowers,  308. 

Shell  Work,  307. 

Sienna,  Burnt,  130. 

Sight,  the  Point  of,  19,  20. 

Silk,  Drawing  on,  72. 

Silk,  to  Paint  on  with  Oil  Colors, 
400. 

“ to  Paint  on  with  Water  Colors, 
166,  186. 

Silks  and  Satins,  Choice  of  Designs 
for,  172. 

Silks  and  Satins,  Tints  for,  148. 

Size  for  Painting  on  Silk,  174. 

“ Glue  or  Parchment,  126. 

“ Gold,  424. 

“ Isinglass,  363. 

“ l^hotograph,  126. 

Sketching,  22. 

“ from  Nature,  24. 

Sky  Tints  tor  Oil  Color  Painting, 
377,  378,  379. 

“ Tints  for  Water  Color  Paint- 
ing, 117. 

Slants,  China,  for  Water  Colors,  100. 
Sli<les,  Painting  Magic  Lantern,  351. 
Spatter  Work,  425. 

Specimens,  Botanical,  to  Dry  for 
Preservation,  314. 

Spirit  in  Water  Color  Painting,  169. 

“ Sandrac  Varnish,  421. 

Steam,  to  fix  Crayon  Drawings  hy, 
59. 

Stencilling,  37,183,  414. 

Stencelling.  Bronze,  directions  for, 
414. 

Stick,  Mahl,  196. 

Stippling,  152,  384. 

Stopping  out  Varnish,  78. 

Straight  Lines.  Drawing,  3. 
Stretching  Paper,  95. 

Sweet  Violet,  Design  of,  Avith  direc- 
tions for  Painting  with  Water 
Colors,  116. 

Taking  Impressions  of  Leaves,  di- 
rections for,  313. 

Tapestry  Canvas,  192. 

“ Painting,  190. 

“ “ A .Stretching 

Frame  for,  192. 
“ “ Brushes  for,  195. 

Taxidermy,  293. 


Technical  Terms,  Explanation  of, 
374. 

The  Point  of  Sight,  19,  20. 

Theorem  Painting,  183. 

Tilton’s  Decorative  Art  Color  Box, 
97. 

“ Decorative  Art  Colors,  99. 
“ Design  Cards,  109. 

Transferring  Designs,  37. 
Tinting  Colors  for  China  Painting, 
250. 

‘‘  Glass  Positives,  Daguerreo- 
types, etc.,  153. 

Tints  for  Flesh  Colors,  140,  386,  394. 
“ “ Hair  “ 142,144,386. 

“ *•  Silk  and  Satin,  148. 

'■  Mixed,  for  Oil  Painting,  386. 
Tones,  Blending,  46. 

“ Flat,  46. 

“ Half  Tones,  etc.,  45. 

Tortillon  Drawing,  44. 

Touching,  Dry,  375. 

Tracing  Paper,  421. 

Transfer  Paper,  422. 

“ Varnish,  421. 

Transferring  Designs,  37. 
Transparencies,  to  Make,  312. 

Trays,  Ash  (Repousse  Work),  321. 
Trees  in  Oil  Colors,  379. 

Turpentine  Varnish,  423. 

Ultramarine,  131. 

Umber,  BuruC  134. 

Valentines,  109. 

Values,  45. 

Vandyke  Brown,  134. 

Vanishing  Point,  20, 

Varnish,  Antique,  423. 

“ Cabinet,  423. 

Clear,  suitable  for  En- 
gravings, etc.,  426. 

“ Grecian,  426. 

“ Mastic,  422. 

“ Painting,  .342,  344,  351,  357. 

“ Papier  Mache,  for  Pearl- 

ing, 423. 

“ Preserving,  426. 

“ Sandrac,  421. 

“ Stopping  out,  78. 

“ Transfer,  421. 

“ Turpentine,  423. 

Varnishing  of  Glass  IWsitives,  155. 
Varnishing  Maps,  424. 

Vellum,  163. 

for  Illuminating,  162. 

“ Painting,  164. 


INDEX. 


448 


Velvet,  Brushes  for  Painting,  180. 

“ Choice  of  Designs  for,  172. 

“ Painting  on  with  Water 

Colors,  179,  186. 
Venetian  Ked,  136. 

Vermilion,  133. 

Vermilion,  Carmine  and,  for  Dra- 
peries, 132. 

Violet,  Design  for,  with  directions 
for  Painting  Avith  Water  Colors, 
116,  117. 

Wash,  Flat,  103. 

“ Graded,  106. 

Watch  Stand,  Design  for,  260. 
Water  Color  Painting,  93. 

“ “ “ Backgrounds, 

131,  119. 

“ “ “ Brushes  for, 

97. 

“ “ Gum  Arabic 

in,  169. 

“ “ “ on  Marble, 

189. 

“ “ “ Outlines  for. 

107. 

“ “ “ Preparing 

Paper  for,  95. 

Water  Colors,  98,  99. 

“ “ China  Slants  for,  100. 

“ “ Hoav  to  lay  on  Smooth- 

ly, 103.' 

“ “ Hoav  to  Paint  Photo- 

graphs in, 122, 156. 

“ “ in  Cakes,  How  to  Con- 

vert into  Moist  Col- 
ors, 112. 

“ “ Introductory  Lessons  in 

Drawing  and  Paint- 
ing in,  106. 

“ “ List  of,  99. 

“ “to  remove  from  the 

cake  or  pan,  100, 101. 
“ “ Painting  Draperies  with, 

115. 

“ “ “ Flesh  Tints  in, 

1.36, 110. 

“ “ “ Landscapes, 117. 

“ “ “ on  IMuslin  with, 

166. 

'■  “ “ on  Plush  with, 

183. 


Water  Colors,  Painting  on  Silks, 
Satins,  etc., 
166, 173, 186. 

“ “ “on  Velvet  Avith, 

179,  186. 

“ “ “on  Wood  Avith, 

186,  187. 

“ “ “ Sky  Tints  for, 

117. 

“ “ “ Spirit  in,  169. 

“ “ Panels  for,  lOi). 

“ “ Paper  for,  91. 

Wax  FloAvers,  276. 

“ Fruit,  286. 

“ Figures,  JMoulds  in  Plaster  for, 
296. 

“ Moulding  in,  285. 

“ Work,  273. 

WedgeAA'Ood’s  Designs  for  China 
Painting,  251,  253. 

Whatman  Paper,  111. 

White,  Black  and,  61. 

“ Chinese,  129. 

“ Constant,  129. 

“ Zinc,  129. 

Wild  Tamarind-seed  Work,  309. 
WineloAA's,  to  Decorate,  101. 

Wood,  to  DraAV  on,  68. 

Wood,  to  Paint  on  Avith  Water  Coc 
ors,  186,  187, 
“ “ Avilh  Oil  Colors, 

101. 

“ “ Preparefor  Painting,  367. 

“ “ Transfer  Engravings  to, 

109. 

Woi'k,  Cabinet,  to  Cleanse,  125. 

“ Cone.  306. 

“ Lattice,  201. 

“ Leather,  257. 

“ Moss,  299. 

“ Plaster,  295. 

“ Seed,  309. 

“ Shell,  .307. 

“ Spatter.  425. 

“ Wax,  273. 

VelloAv,  Cadmium,  129. 

“ Chrume.  1.30. 

“ Indian,  129. 

YelloAA’s,  Shadows  for,  148, 


Zinc,  AYhite,  129. 


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